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Artprice: France’s cultural policy is not in the country’s best interests according to thierry Ehrmann

The front page headline of the French newspaper L’Express reads: The French State spends €139 per capita on culture in the Paris region versus €15 in the rest of the country.

By pursuing a strategy of concentrating the country’s cultural offer on its capital, France is leaving itself dangerously exposed to stronger players. French artists, galleries and auction houses are finding it increasingly difficult to emerge from the shadow of their powerful Anglo-Saxon rivals, both in France and on the international scene.

In reaction to this article, thierry Ehrmann, Artprice’s founder CEO says: “This is no surprise to anyone: Paris enjoys a favorable regime at the cultural level. But the imbalance has become too great, too obvious. The French capital is no longer an El Dorado, neither for its artists nor for the Art Market.

In 1964, Sotheby’s acquired America’s leading auctioneer at the time, the New York operator Parke-Bernet. The firm was initially offered to French auctioneers, but they refused. France is still suffering from the “Parke-Bernet Syndrome, as I defined and explained it to 9 Ministers of Culture. Each time they were shaken.

   Sales Catalogs of Parke-Bernet Galleries - Artprice Archives


Sales Catalogs of Parke-Bernet Galleries – Artprice Archives

Sales Catalogs of Parke-Bernet Galleries – Artprice Archives
[https://imgpublic.artprice.com/img/wp/sites/11/2019/06/parke-bernet.png]

4% of the global Art Market

The situation has changed significantly since the 1960s. Paris is still clearly the bastion of French auction sales, accounting for 90% of the country’s total turnover. But half a century ago, France was at the epicentre of the global market. In 2018, France generated just 4% of global fine art auction turnover.

But even this diminished market is struggling to remain French. Dominated by the Anglo-Saxon auction houses, Sotheby’s and Christie’s generated 51% ($353.5 million) of France’s total fine art auction turnover in 2018… and that total is a very small percentage of their global Fine Art business. Representing just 4% of their combined global sales, the Parisian auction houses have become almost secondary for Christie’s and Sotheby’s. The New York marketplace generates 15 times more turnover than Paris, London 6 times more and even Hong Kong generates nearly 3 times more than the French capital.

Meanwhile, Phillips, the world’s third largest auction house by turnover, has simply decided not to organise sales in Paris…

Frexit

France woos the major British and American players in the Art Market, but it struggles to keep its own artists who prefer to go and live elsewhere. On 7 June, the New York Times drew its readers’ attention to the singularity of the French pavilion at the 2019 Venice Biennale in an article entitled “Laure Prouvost represents France. But she doesn’t feel very French”. Indeed… the 41-year-old artist, born in France, works in Antwerp, Belgium, and was revealed in 2013 by the Turner Prize, Britain’s most prestigious art award.

In an interview with the French business newspaper Les Echos, gallery owner Daniel Templon explains: “At the FIAC, there are sixteen ultra-big stands available, but only one was occupied by a French gallery. Our leading Contemporary Art Fair sees us as secondary and, by the same token, our artists too […]. If emerging artists want to succeed and move up the price ladder, they have to move abroad, to Germany, Belgium, Los Angeles or New York.

Daniel Templon justifiably blames French museums: “French museum directors believe it is better to exhibit foreign artists and say they would attract fewer visitors with French artists. […] Before exporting our artists, we should at least try to generate a domestic market for them here in France. […].« 

The Parisian gallerist concludes: “If institutions don’t accompany us, there won’t be any powerful galleries left in France.« 

Towards a different cultural policy

Paris possesses some of the best cultural institutions in France and in the world for that matter. From the Primitive arts to the Contemporary scene, from Antiquity to the Medieval period… Paris has it all.

The Louvre – figurehead of the entire system – is the most visited museum in the world. But, as the Express article explains, it has received massive financing: « In the 1980s, François Mitterrand decided to renovate the Louvre, launching much needed work including extension, restoration and construction of the famous pyramid. The State paid everything, which seems logical. However, in 2012, when the French State inaugurated the museum’s satellite in Lens […], the State’s contribution to its funding was fixed at a tiny 1%« .

Moreover, in geographical terms, France’s cultural policy resembles a laboratory; the provinces are used as testing grounds where young curators and young museum directors are sent to prove themselves. This year, for example, the organisation of the Lyon Biennale has been entrusted to the young curatorial team of the Palais de Tokyo, and Jean de Loisy, whose presidency of the museum has just ended, has withdrawn… to devote himself to the management of the Ecole des Beaux-Arts in Paris and his excellent radio program “Art is Matter” on France Culture.

Artprice’s recently published ranking of France’s Contemporary Art museums based on Google reviews confirms the extraordinary success of Parisian museums compared to those of France’s regions.

https://www.prnewswire.com/news-releases/artprice-presents-a-ranking-of-contemporary-art-museums-in-france-based-on-google-opinions—methodology-and-facts-which-have-been-legally-verified-300867332.html

Copyright ©2019 thierry Ehrmann – www.artprice.com

About Artprice:

Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.

Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2019/03/2019-bio-whoswho-thierry-ehrmann.pdf).

Dicover Artprice in video: https://www.artprice.com/video

Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.

Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications.

For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2018 published last March 2019: https://www.artprice.com/artprice-reports/the-art-market-in-2018

Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.

About the Artron Group:

Partners since 2009, in 2018, Artron and Artprice signed a historic agreement to create a “New Silk Road for Art”. This initiative is perfectly coherent with China’s « One Belt, One Road » (OBOR) or « Belt and Road Initiative » (BRI) launched in 2013 and known in Europe as the “New Silk Road”.

Artron Art Group (Artron), a comprehensive cultural industrial group founded in 1993 by Wan jie, is committed to inheriting, enhancing and spreading art value. Based on abundant art data, Artron provides art industry and art fans with professional service and experience of quality products by integrated application of IT, advanced digital science and innovative crafts and materials.

Having produced more than 60,000 books and auction catalogues, Artron is the world’s largest art book printer with a total print volume of 300 million a year. It has more than 3 million professional members in the arts sector and an average of 15 million daily visits, making it the world’s leading art website.”

Artron’s Web: www.Artron.net

Artprice’s Contemporary Art Market Annual Report for 2018 – free access at:
https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2018

Artprice’s press releases:

http://serveur.serveur.com/Press_Release/pressreleaseen.htm

https://twitter.com/artpricedotcom

Artmarket News:

https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom

https://www.facebook.com/artpricedotcom 4,4 million subscribers

http://artmarketinsight.wordpress.com/

Discover the Alchemy and the universe of Artprice http://web.artprice.com/video, which headquarters are the famous Museum of Contemporary Art, the Abode of Chaos: https://issuu.com/demeureduchaos/docs/demeureduchaos-abodeofchaos-opus-ix-1999-2013

https://vimeo.com/124643720

The Contemporary Art Museum The Abode of Chaos

https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999 3.9 million subscribers

Contact: ir@artprice.com

Artprice (New York): thierry Ehrmann: « Patrick Drahi’s acquisition of Sotheby’s confirms the Art Market’s entry into the digital era of the 21st century ».

(New York, NY) thierry Ehrmann: “Patrick Drahi’s acquisition of Sotheby’s confirms the Art Market’s entry into the digital era of the 21st century. Artprice has always argued that the global Art Market – weighing roughly 90 billion dollars – was several decades behind in terms of digital culture and Internet.

Fine Art auction turnover for the world two major auction houses: Christie’s and Sotheby’s

Fine Art auction turnover for the world two major auction houses: Christie’s and Sotheby’s

Fine Art auction turnover for the world two major auction houses: Christie’s and Sotheby’s

[https://imgpublic.artprice.com/img/wp/sites/11/2019/06/artprice-sothebys-vs-christies.png]

“So it’s great news for the Art Market and Artprice to see Sotheby’s – the only listed auction operator – being acquired bought by Patrick Drahi, a 55-year-old global entrepreneur with a portfolio of telecommunications, media and digital companies. The offer price, which represents a premium of 61% to Sotheby’s closing price on June 14, 2019, and a 56% premium to the company’s 30 trading-day volume weighted average share price, reflects Patrick Drahi’s genuine confidence in Sotheby’s capacity for exponential development via a digital mutation”.

Artprice: “Since 2000, the Art Market has enjoyed a period of distinctly virtuous growth, becoming an efficient market with a return on investment of almost 7% per year and a volume growth of 450%. For much of this period, the backdrop to this growth has been a savings environment of zero or even negative interest rates in the eurozone. Meanwhile, the market itself has evolved from roughly 500,000 art collectors after WWII to nearly 90 million Art Consumers today, the vast majority of whom are completely at ease with new technologies”.


thierry Ehrmann:
The soft power of the world’ major powers is a powerful geopolitical driver for the growth and development of the Museum Industry®. Artprice was one of the first players to appreciate and conceptualize the global importance of this industry. As we analysed in an earlier study, more museums opened between 1 January 2000 and 31 December 2014 than during the previous two centuries. Every year approximately 700 new museums with international standingeach holding a minimum of 4,500 artworksopen their doors on five continents, representing one of the primary sustainable drivers of the global Art Market”.

For 21 years, Artpricethe global leader in Art Market information and a dedicated digital pioneer – has contributed to the Art Market’s evolution into the digital era. Its databanks are today an absolute worldwide reference in terms of exhaustivity, indices and Art Market statistics. Remember that Artprice, via external growth and R&D, was the first global player to produce algorithm indices, using Big Data and Artificial Intelligence based on the observation of billions of connections to our databanks in strict compliance with existing data protection laws around the world.

In his statement, the position of Sotheby’s CEO, Tad Smith, is perfectly lucid: he openly welcomes Patrick Drahi into the Sotheby’s family: “Known for his commitment to innovation and ingenuity. He has a long-term view with a proven track record in the field of telecommunications, media and digital companies and I strongly believe that the company will be in excellent hands for decades to come with Patrick as our owner.”

Likewise, Domenico De Sole, chairman of the Sotheby’s board of directors, welcomes the move: “Following a comprehensive review, the Board enthusiastically supports Mr. Drahi’s offer, which delivers a significant premium to market for our shareholders.

Several key facts and figures concerning Sotheby’s and the Fine Art auction market:

Sotheby’s is the world’s number two Fine Art auction operator with a total turnover of $3,93 billion in 2018, behind Christies with $5 billion. Together, the two Anglo-Saxon giants account for over half of the planet’s Fine Art auction turnover: Christies for 32.3% and Sotheby’s for 25.4%. Their respective strengths are based on global coverage of the Art Market.

Sotheby’s 2018 Fine Art auction turnover by location

© Artprice.com

New York: $2 billion (51%)

London: $1.1 billion (28%)

Hong Kong: $554 million (14%)

Paris: $188 million (5%)

Milan: $32 million (0.8%)

Melbourne: $24 million (0.6%)

Mumbai: $8 million (0.2%)

Zurich: $7 million (0.2%)

Despite 275 years of existence, Sotheby’s has experienced a number of relatively close strategy changes:

– 2015: Tad Smith became CEO and the firm terminated sales in mainland China (Beijing) and the Middle East (Doha).

– 2016: 13.5% of Sotheby’s was acquired by the Chinese insurance company Taikang Life Insurance, whose CEO is the founder of the Chinese auction operator, China Guardian.

– 2017: the firm eliminated buyers’ fees from online sales.

– 2018: buyers’ fees were re-established for online sales

Sales growth at both Christie’s and Sotheby’s has been around 400% since 2000, comparable to the 450% growth of the global Art Market over the same period.

After the announcement of Sotheby’s H1 2018 results, Sotheby’s share price dropped 10%. Despite rising sales, the company’s profits fell by 23%, a contraction that Sotheby’s blamed on its own guarantee strategy. Apparently the sale of Modigliani’s Nu Couché (sur le côté gauche) (1917-18) for $157 million – an absolute record for Sotheby’s – was not the best financial transaction of the year for the world’s second largest auction operator.

Artprice: “The world’s top two auction houses, with no rivals to date, are now both owned by French investors and collectors: François Pinault acquired Christie’s in 1998 and now Patrick Drahi effectively owns Sotheby’s since 17 June 2019”.

Copyright ©2019 thierry Ehrmann – www.artprice.com

About Artprice:

Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.

Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2019/03/2019-bio-whoswho-thierry-ehrmann.pdf).

Dicover Artprice in video: https://www.artprice.com/video

Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.

Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications.

For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2018 published last March 2019: https://www.artprice.com/artprice-reports/the-art-market-in-2018

Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.

About the Artron Group:

“Artron Art Group (Artron), a comprehensive cultural industrial group founded in 1993 by Wan jie, is committed to inheriting, enhancing and spreading art value. Based on abundant art data, Artron provides art industry and art fans with professional service and experience of quality products by integrated application of IT, advanced digital science and innovative crafts and materials.

Having produced more than 60,000 books and auction catalogues, Artron is the world’s largest art book printer with a total print volume of 300 million a year. It has more than 3 million professional members in the arts sector and an average of 15 million daily visits, making it the world’s leading art website.”

Artron’s Web: www.Artron.net

Artprice’s Contemporary Art Market Annual Report for 2018 – free access at:
https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2018

Artprice’s press releases:

http://serveur.serveur.com/Press_Release/pressreleaseen.htm

https://twitter.com/artpricedotcom

Artmarket News:

https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom

https://www.facebook.com/artpricedotcom 4,4 million subscribers

http://artmarketinsight.wordpress.com/

Discover the Alchemy and the universe of Artprice http://web.artprice.com/video, which headquarters are the famous Museum of Contemporary Art, the Abode of Chaos: https://issuu.com/demeureduchaos/docs/demeureduchaos-abodeofchaos-opus-ix-1999-2013

https://vimeo.com/124643720

The Contemporary Art Museum The Abode of Chaos

https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999 3.9 million subscribers

Contact: ir@artprice.com

Artprice (New York) : thierry Ehrmann : « le rachat de Sotheby’s par Patrick Drahi valide l’entrée du Marché de l’Art dans l’ère numérique du XXIème siècle ».

Artprice (New York) : thierry Ehrmann : « le rachat de Sotheby’s par Patrick Drahi valide l’entrée du Marché de l’Art dans l’ère numérique du XXIème siècle ».

(New York, NY) thierry Ehrmann : « Le rachat de Sotheby’s par Patrick Drahi valide l’entrée du Marché de l’Art dans l’ère numérique du XXIème siècle, car Artprice a toujours souligné que ce secteur économique qui pèse environ 90 milliards de dollars, avait plusieurs décennies de retard en matière de culture du numérique et de l’Internet ».

Chiffre d’affaires Fine Art Christie s / Sotheby’s des deux premières Maisons de Ventes dans le monde.

Chiffre d’affaires Fine Art Christie s / Sotheby’s des deux premières Maisons de Ventes dans le monde.

Chiffre d’affaires Fine Art Christie s / Sotheby’s des deux premières Maisons de Ventes dans le monde.
[https://imgpublic.artprice.com/img/wp/sites/11/2019/06/artprice-sothebys-vs-christies.png]

« C’est donc une excellente nouvelle pour le Marché de l’Art et pour Artprice de voir la seule société cotée de ventes aux enchères Sotheby’s rachetée par Patrick Drahi, un entrepreneur mondial de 55 ans possédant des sociétés de télécommunications, de médias et de numérique à travers le monde. Le prix d’offre qui représente une prime de 61 % par rapport au cours de clôture de Sotheby’s et une prime de plus de 56 % au prix moyen pondéré de l’action de la société au cours des 30 derniers jours de Bourse, traduit une véritable confiance de Patrick Drahi dans la capacité de voir Sotheby’s par la mutation numérique connaître un développement exponentiel ».

Artprice : « Il est vrai que le Marché de l’Art connaît depuis 2000 une croissance vertueuse, devenu un marché efficient avec un taux de rendement de près de 7 % par an et une croissance en volume de 450 %, à l’heure où les banques centrales imposent aux épargnants un taux proche de zéro, voire négatif en zone euro. Nous sommes passés des 500 000 collectionneurs de l’après-guerre à près de 90 millions d’Art Consumers férus de nouvelles technologies ».

thierry Ehrmann : « Le soft power des grandes puissances est un moteur géopolitique puissant pour le développement exponentiel de l’Industrie Muséale® que nous avons conceptualisée et enseignée : il s’est construit, comme le révèle une de nos études, plus de musées entre le 1er janvier 2000 et le 31 décembre 2014 que durant tout les XIXe et XXe siècles. Chaque année, 700 musées d’envergure internationale – conservant chacun un minimum de 4500 œuvres d’art – ouvrent leurs portes sur les cinq continents ce qui constitue un des moteurs principaux de croissance pérenne sur le Marché de l’Art. ».

Artprice, leader mondial de l’information sur le Marché de l’Art, a depuis 21 ans contribué en tant que pionnier du numérique à faire muter le Marché de l’Art vers l’ère du numérique, par ses banques de données qui sont la référence mondiale en matière d’exhaustivité et d’indices et statistiques sur le Marché de l’Art. Pour rappel, Artprice par ses croissances externes et sa R&D a été le premier acteur global à concevoir des indices algorithmés, du Big Data et de l’IA par la collecte de milliards de requêtes comportementales sur ses banques de données dans le strict respect des lois en vigueur à travers le monde.

La position de Tad Smith, C.E.O. de Sotheby’s, est extrêmement claire : il n’hésite pas dans sa déclaration à se féliciter de la venue de Patrick Drahi, « connu pour son engagement en matière d’innovation et d’ingéniosité. Il a une vision à long terme avec une compétence certaine dans le domaine des télécommunications, des médias et du numérique. Je suis convaincu que Sotheby’s restera entre d’excellentes mains pendant des décennies avec Patrick qui devient notre propriétaire ».

De même, Domenico De Sole, président du conseil d’administration de Sotheby’s a déclaré « après un examen approfondi, le conseil d’administration a soutenu avec enthousiasme l’offre de Monsieur Drahi qui offre une prime importante au marché pour nos actionnaires ».

Quelques repères et chiffres clés Artprice concernant Sotheby’s et le Marché de l’Art en Fine Art :

Sotheby’s est la deuxième Maison de Ventes Fine Art de la planète avec 3,93 Mrd$ en 2018, derrière Christie’s 5 Mrd$. Les deux géantes anglo-saxonnes concentrent, à elles deux, plus de la moitié de la valeur des ventes aux enchères : Christie’s 32,3 % et Sotheby’s 25,4 %. Leurs puissances reposent en grande partie sur une couverture globale du Marché de l’Art.

Répartition géographique du produit des ventes Fine Art de Sotheby’s en 2018

© Artprice.com

New York : 2 Mrd$ (51%)

Londres : 1,1 Mrd$ (28%)

Hong Kong : 554 m$ (14%)

Paris : 188 m$ (5%)

Milan : 32 m$ (0,8%)

Melbourne : 24 m$ (0,6%)

Mumbai : 8 m$ (0,2%)

Zurich : 7 m$ (0,2%)

Malgré ses 275 ans d’existence, Sotheby’s connaît des changements de stratégies rapides et réguliers :

– 2015 : Tad Smith devient CEO ; fin des activités de ventes en Chine continentale (Pékin / Beijing) et au Moyen-Orient (Doha)

– 2016 : l’assureur chinois Taikang Life Insurance acquiert 13,5 % de Sotheby’s. Son Président est le fondateur de la Maison de Ventes chinoise China Guardian

– 2017 : les frais acheteurs sont supprimés sur les ventes en ligne

– 2018 : les frais acheteurs sont réhablitité pour les ventes en ligne

La croissance du produit des ventes de Christie’s comme de Sotheby’s est de l’ordre de 400 % depuis 2000, une progression comparable à celle du Marché de l’Art mondial sur la même période +450 %.

A l’annonce des résultats du premier semestre 2018, l’action Sotheby’s a perdu -10%. Malgré un chiffre d’affaires en hausse, les profits de la société ont chuté de -23%, une contre-performance que Sotheby’s a expliqué en pointant du doigt sa propre stratégie de garantie. Vraisemblablement, la vente de Nu Couché (sur le côté gauche) (1917-18) de Modigliani (157m$, un record absolu pour Sotheby’s) n’a pas été la meilleure opération financière de l’année pour la deuxième maison de ventes de la planète.

Et Artprice de conclure : « Les deux premières maisons de ventes de la planètes, sans autres rivales à ce jour, sont à présent toutes deux détenues par des investisseurs et collectionneurs français, François Pinault depuis 1998 pour Christie’s et Patrick Drahi depuis ce 17 juin 2019 pour Sotheby’s ».

Copyright 1987-2019 thierry Ehrmann www.artprice.com

Au sujet d’Artron :

Artprice couvre le monde entier et notamment la Chine avec son fidèle partenaire institutionnel Artron Art Group (Artron) fondé en 1993 et présidé par son Fondateur Mr Wan Jie qui est le plus grand imprimeur de livres d’art au monde, avec plus de 60 000 livres et catalogues de ventes aux enchères et un volume de publications total de 300 millions par an.

Artron.Net est la marque la plus respectée du monde de l’art chinois. Artron.Net compte plus de 3 millions de membres professionnels dans le secteur des arts et 15 millions de visites quotidiennes en moyenne, ce qui en fait le premier site Web d’art mondial.

A propos d’Artprice :

Artprice est cotée sur Eurolist by Euronext Paris, SRD long only et Euroclear : 7478 – Bloomberg : PRC – Reuters : ARTF.

Découvrir Artprice en vidéo : https://fr.artprice.com/video

Artprice fut fondée en 1997 par thierry Ehrmann qui est son PDG. Artprice est auto-contrôlée par le Groupe Serveur créé en 1987. Voir biographie certifiée de Who’s who © :
https://imgpublic.artprice.com/img/wp/sites/11/2019/03/2019-bio-whoswho-thierry-ehrmann.pdf

Artprice est le Leader mondial des banques de données sur la cotation et les indices de l’Art avec plus de 30 millions d’indices et résultats de ventes couvrant plus de 700 000 Artistes. Artprice Images® permet un accès illimité au plus grand fonds du Marché de l’Art au monde, bibliothèque constituée de 126 millions d’images ou gravures d’oeuvres d’Art de 1700 à nos jours commentées par ses historiens.

Artprice enrichit en permanence ses banques de données en provenance de 6300 Maisons de Ventes et publie en continu les tendances du Marché de l’Art pour les principales agences et 7200 titres de presse dans le monde. Artprice met à la disposition de ses 4,5 millions de membres (members log in), les annonces déposées par ses Membres, qui constituent désormais la première Place de Marché Normalisée® mondiale pour acheter et vendre des oeuvres d’Art à prix fixe ou aux enchères (enchères réglementées par les alinéas 2 et 3 de l’article L 321.3 du Code du Commerce).

Artprice, labellisée par le BPI pour la deuxième fois en novembre 2018, développe son projet de Blockchain sur le Marché de l’Art.

Le Rapport Annuel Artprice du Marché de l’Art mondial 2018 publié en mars 2019 : https://fr.artprice.com/artprice-reports/le-marche-de-lart-en-2018

Le Rapport du Marché de l’Art Contemporain 2018 d’Artprice :
https://fr.artprice.com/artprice-reports/le-marche-de-lart-contemporain-2018

Sommaire des communiqués d’Artprice :

http://serveur.serveur.com/press_release/pressreleasefr.htm

https://twitter.com/artpricedotcom

Suivre en temps réel toute l’actualité du Marché de l’Art avec Artprice sur Facebook et Twitter :

https://www.facebook.com/artpricedotcom 4,4 millions d’abonnés

https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom

http://artmarketinsight.wordpress.com/

Découvrir l’alchimie et l’univers d’Artprice http://web.artprice.com/video dont le siège social est le célèbre Musée d’art contemporain Abode of Chaos dixit The New York Times / La Demeure du Chaos: https://issuu.com/demeureduchaos/docs/demeureduchaos-abodeofchaos-opus-ix-1999-2013

https://vimeo.com/124643720

Musée d’Art Contemporain siège social d’Artprice :

https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999

(3,9 millions d’abonnés)

Contact ir@artprice.com

Artprice: a masterpiece by Caravaggio, a Monet, a Bacon and a small Basquiat to close out H1 2019

2019/06/13 Commentaires fermés

Artprice: a masterpiece by Caravaggio, a Monet, a Bacon and a small Basquiat to close out H1 2019

Since the beginning of the year the American art market has reassured all of its protagonists, and is now testing Richard Prince’s new range of cannabis products, Katz + Dogg, launched concurrently with the opening of his show High Times at the San Francisco Gagosian.

Meanwhile, the European market is reaching for a grand ‘finale’ to the year’s first semester with major sales in Paris, the 50th edition of Art Basel and London’s last major sales before the summer break. But… the big news in this ‘finale’ may well come from the South of France.

Thierry Ehrmann, Artprice’s founder/CEO is delighted: The first semester of 2019 could end with a kind of revolution on the French Art market. And for once… it’s a French initiative. An extraordinary masterpiece is being auctioned far from the major capitals… far from the major auction houses… and with no reserve price! The Caravaggio painting is so powerful and has such an extraordinary history, it doesn’t need any guarantees!

Michelangelo Merisi, aka Caravaggio (1571 - 1610) Judith and Holofernes (c.1607) © Marc Labarbe and Eric Turquin

Michelangelo Merisi, aka Caravaggio (1571 – 1610)
Judith and Holofernes (c.1607)
© Marc Labarbe and Eric Turquin

The Toulouse Caravaggio: $115 million – $170 million

Quite simply the most spectacular event of the year: after its ‘release’ by the French state, a Caravaggio masterpiece will be offered for sale on Thursday 27 June 2019 in Toulouse where the painting was found, by chance, in an attic five years ago. Since receiving its export visa, the Judith and Holofernes painting has been exhibited at the Colnaghi gallery in London, at kamel mennour in Paris and at Adam Williams in New York.

Of course, the arrival of any work by Caravaggio on the auction market is an event in its own right. The last one dates back to 1971 when his painting Martha and Mary Magdalene – in a cloud of attribution doubts at the time – failed to sell at Christie’s in London. After the Detroit Institute of Art acquired it in 1973, the authenticity of the work was universally recognised and the painting is today considered an undisputed Caravaggio masterpiece.

The Toulouse painting is every bit as impressive and the DIA’s jewel: sooner or later, the work will be acquired by one of the world’s major museums. “It represents the only opportunity they will ever get to acquire a Caravaggio” warns art expert Eric Turquin. “It could be 40 or 50 years before another work is found” … and it probably won’t be nearly as as important as this one.

Since its rediscovery the Toulouse Judith and Holofernes has received support from a number of eminent specialists including the American curator Keith Christiansen (MET), the French curator Guillaume Kientz (Louvre) and the Italian Museum Director, Nicola Spinosa (Capodimonte). It is now up to academics to determine the place of this painting in Art History. David Stone from the University of Delaware believes the painting illustrates the invention of a new technique that Caravaggio developed after his arrival in Naples. The technique consists of using a base colour on the canvas, known as an imprimatura, to enhance the work and bring it to life.

To date, the sixty-eight known Caravaggio paintings are all kept in the world’s most prestigious collections, museums and churches in Europe and the United States. “There isn’t a single one in the Middle East or anywhere in Asia” says thierry Ehrmann. “And yet the 2016 Caravaggio exhibition in Tokyo was a huge success.”

A Monet Water-Lilies: $32 million – $44 million

So far this year, Claude Monet is the world’s best selling artist on the global auction market with 17 works having already generated over $200 million.

The year started badly when his Weeping Willow and Water-Lily pond (1916-19) failed to sell at Christie’s in London on 28 February. The best offer of $55 million (including fees) was below the seller’s minimum price pretension. However, far from being harmful to his market, that failure contributed to a healthy balance between supply and demand. Of the twenty Monet works put on sale during H1 2019, more than 80% were sold.

There is clearly no lack of demand for Monet’s work. On 14 May 2019, one of his Haystacks paintings (1890) was offered at Sotheby’s New York with a low estimate of $55 million. The painting sold for $110.5 million, setting a new world record for an Impressionist artwork. The value accretion, from $2.5 million in 1986 (Christie’s), speaks for itself.

On 19 June 2019 in London, Sotheby’s will be offering another Water-Lilies (1908) painting that has never previously been sold publicly.

A Francis Bacon self-portrait: $19 million – $25 million

London is no longer the primary market place for Francis Bacon’s works: the best three auction results for this artist have all been hammered in New York. In 2017, Christie’s London failed to sell his Study of Red Pope 1962. 2nd Version 1971 against an estimate of $130 million.

Nevertheless, on 26 June 2019, Bacon’s Self-Portrait (1975) will be offered for sale at Sotheby’s London branch on New Bond Street. In 2015, when the pound sterling was strong, the prestigious auction house sold it for $24 million. Four years later, against the backdrop of Brexit, Sotheby’s is hoping for a similar result.

A small Basquiat: $9.5 million – $14 million

So far this year, Jean-Michel Basquiat is an absentee from major market news. He currently ranks 22nd in Artprice’s temporary turnover ranking. After two explosive years on the secondary market, his paintings are becoming increasingly rare as collectors begin to restrict their offer. Only one of his works has crossed the $10 million threshold so far this year… and that was in May, in New York, of course. A second good quality canvas by the New York graffiti artist, entitled Sabado por la Noche (1984), is coming up for auction on 25 June at Christie’s in London.

Today, more than ever, the Museum Industry plays a massive role in the global art market and Basquiat is one of those artists who is in demand from prestigious museums and from the world’s most powerful collectors at the same time. Many people were surprised by the rapid growth in the prices of his works. In an interview with the New York Times in May 2017, Ann Temkin, head curator of the MoMA’s painting and sculpture department, regretted that the museum had not acquired Jean-Michel Basquiat’s works in time.

As thierry Ehrmann has often said: You have to buy the right work with the right story, by the right artist at the right time…

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Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.

Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications.

For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2018 published last March 2019: https://www.artprice.com/artprice-reports/the-art-market-in-2018

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“Artron Art Group (Artron), a comprehensive cultural industrial group founded in 1993 by Wan jie, is committed to inheriting, enhancing and spreading art value. Based on abundant art data, Artron provides art industry and art fans with professional service and experience of quality products by integrated application of IT, advanced digital science and innovative crafts and materials.

Having produced more than 60,000 books and auction catalogues, Artron is the world’s largest art book printer with a total print volume of 300 million a year. It has more than 3 million professional members in the arts sector and an average of 15 million daily visits, making it the world’s leading art website.”

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Artprice:香港推动当代艺术市场的发展

2019/06/04 Commentaires fermés

Artprice香港推动当代艺术市场的发展

艺术家张晓刚与雅昌文化集团总裁万捷先生(左)、Artprice 首席执行官 thierry Ehrmann(右)一起在他的工作室里。

艺术家张晓刚与雅昌文化集团总裁万捷先生(左)、Artprice 首席执行官 thierry Ehrmann(右)一起在他的工作室里。

佳士得拍卖行、菲利普斯拍卖行和邦瀚斯拍卖行终于开始在香港着手各自的 2019 年拍卖计划,其他大型拍卖行则是在两个月之前开始实施拍卖计划。巴塞尔香港艺术展刚一结束,苏富比拍卖行、中国嘉德拍卖公司、保利拍卖公司、匡时拍卖公司和首尔拍卖行便举办了各自的首场大型香港拍卖会。

各大拍卖行的拍卖计划中出现的这种不同寻常的分歧(尤其是佳士得和苏富比之间)似乎对香港艺术市场大有助益,如今这种情况在今年上半年较为常见。

Artprice 的首席执行官兼创始人 thierry Ehrmann 表示:“香港最大的一个优势是,可以提供各种各样来自世界各地的非凡作品。在这方面,它绝对是世界上独一无二的,可以让中国、日本、东南亚乃至欧洲和美国的最佳作品身价倍增。

菲利普斯拍卖行近期举办的夜场拍卖会对赵无极、罗伊·利希滕斯坦、张晓刚、奈良美智和安迪·沃霍尔的作品进行了拍卖。这批精挑细选的作品均享誉全球,充分反映出香港市场的财富实力。因此,中国和美国的所有大型拍卖行都希望进入香港市场。”

今年,香港成功吸引了广州华艺国际拍卖有限公司来此拓展业务。广州华艺国际拍卖有限公司成立于 1994 年。到 2019 5 月底,该公司已经在香港举办了不下七场拍卖会,这是它自成立起首次进入香港市场。

赵无极独占鳌头

不出所料,法籍华裔画家在佳士得拍卖行和菲利普斯拍卖行创下了最高拍卖纪录。去年 9 月份,他的作品创下 5750 万美元的价格记录,此后,这位抒情抽象大师便成为艺术市场的巨头之一。在 Artprice 2018 年拍卖成交额排行榜中位居第三,仅次于巴勃罗·毕加索和克劳德·莫奈。

佳士得拍卖行于 2019 5 25 日拍卖的八件赵无极画作成交价为 5000 万美元,占此次拍卖会总成交额的 45%。虽然此次拍卖成绩喜人,但或许可以更好,因为八件作品中最好的一件一幅大型帆布油画(名为《02.01.65》)未能售出。

毫无疑问,按照需求,这件作品的估价超过 3000 万美元,该价值与最新拍卖结果一致,但考虑到赵无极的作品价格在短期内不稳定,因此可能需要较长一段时间才能在市场上占据优势。2010 年,该作品仅以 270 万美元的价格售出。

Kaws Richard Lin 胜券在握

2019 4 月,在苏富比于 初举行的拍卖会上,最引人注目的便是美国街头艺术家 Kaws 创造的令人意想不到的记录。他的画作The Kaws Album (2005) 估价为 80 万到 100 万美元,但实际成交价却达到 1480 万美元(包括服务费),着实令人震惊。这位 Perrotin Skarstedt 画廊的新秀艺术家今年在二级市场上旗开得胜。

Half Full(2012) 成为菲利普斯拍卖行售出的第 13 件价格超过 100 万美元的作品。2018 3 月,纽约佳士得以 44.45 万美元的价格购入这件帆布丙烯画,14 个月后又在香港以 140 万美元的价格转售出去。

抽象派画家 Richard Lin1933 -2011 年)的作品售价也大幅上涨。在他过世七年之后,人们对他的作品一直兴趣不减,致使他的作品在 2018 年三次刷新拍卖记录。2019 5 27 日,他的画作1.3.1964 – Painting Relief创下邦瀚斯拍卖行当代与现代艺术类别的最高拍卖记录。

当代中国艺术家的作品价格稳定

上世纪 50 年代出生的中国画家的身价在香港趋于稳定。这一代新兴中国油画大师并未创造新纪录(他们大多数人是在五六年前创下纪录),但他们的作品在亚洲很受欢迎,令收藏家倍感欣慰。

5 25 日,曾梵志的画作《Mask(1996) 在佳士得拍卖行仅以不到 300 万美元的价格售出,远低于 2013 年他的大型帆布画《The Last Supper(2001) 创下的 2300 万美元的记录,该记录令此后的画作再也无法企及。张晓刚的Bloodline SeriesThe Big Family No. 10(2000) 在同一天售出,情况类似,成交价为 160 万美元。而在 2014 年,同一系列中的另一幅作品——BloodlineThe Big Family No.3(1995) 售价超过 1200 万美元。

鉴于上述结果,我们明显可以看出,这一代中国艺术家的作品价格已经统一,即价值稳定在一个很高的水平。除了上述种种迹象以外,周春芽的画作Stone Series – The Tree Connected to Stone(1993) 的三次连续拍卖结果也证实了这一趋势,这三次拍卖结果如下:

24.6 万美元 — 2006 10 9 日(香港苏富比)

670 万美元 — 2014 4 5 日(香港苏富比)

410 万美元 — 2019 5 25 日(香港佳士得)

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Artprice 是全球领先的艺术市场行情及指数数据库。其拥有超过 3000 万条拍卖指数和拍卖结果,涵盖了 70 多万名艺术家。Artprice Images® 提供无访问限制的世界艺术市场上最大的数据图库,数据库中共有 自 1700 年至今的 1.26 亿张图片和艺术作品,以及 Artprice 艺术史学家的解说信息。

Artprice 6300 家拍卖行收集艺术拍卖信息不断丰富其数据库,并在全球主要新闻机构和约 7200 家国际新闻媒体上不断更新艺术市场趋势信息。

Artprice 为其 450 万会员提供访问世界领先的标准化艺术品市场的渠道,从而进行艺术品买卖交易。Artprice 正在筹建艺术市场区块链。以下是 BPI-标记(法国国家科学标志)Artprice 2019 3 月出版的 2018 年全球艺术市场年度报告:https://www.artprice.com/artprice-reports/the-art-market-in-2018

Artprice 与中国艺术市场领先企业雅昌文化集团密切合作,后者是其坚实的机构合作伙伴。

雅昌文化集团简介:

雅昌文化集团是由万捷于 1993 年创立的一家综合性文化产业集团,致力于传承、提升和传播艺术价值。以丰富的艺术数据为基础,雅昌集团通过整合和应用 IT 技术、数字科学以及创新型的工艺和材料为艺术产业以及艺术爱好者们提供专业的服务和高品质产品体验。

雅昌已经制作了 6 万多本书籍和拍卖目录,是世界上最大的艺术书籍印刷商,年印刷总量达 3 亿。它在艺术领域拥有 300 多万专业会员,平均日访问量达 1500 万,使其成为世界领先的艺术网站”。

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Artprice: Hong Kong drives the Contemporary Art Market

2019/05/29 Commentaires fermés
Artist Zhang Xiaogang in his studio with Wan Jie, Artron Group CEO (left) and thierry Ehrmann, Artprice CEO (right).

Artist Zhang Xiaogang in his studio with Wan Jie, Artron Group CEO (left) and thierry Ehrmann, Artprice CEO (right).

Christies, Phillips and Bonhams have at last started their 2019 sales programme in Hong Kong, two months after the other major auction houses began theirs. Sothebys, China Guardian, Poly, Council and Seoul Auction organized their first major Hong Kong sessions just after the Art Basel Hong Kong fair.

This unusual split in the major sales calendar (especially between Christies and Sothebys) appears to have benefited the Hong Kong Art Market, which is now more evenly spread over the first half of the year.

According to thierry Ehrmann, Artprice’s CEO and founder, “one of Hong Kong’s major advantages is its capacity to offer an extraordinary mix of works from around the world. In this respect, it is absolutely unique in the world, turning over the best works from China, Japan and all of Southeast Asia, but also from Europe and the United States.

Phillips’ recent evening sale included works by Zao Wou-Ki, Roy Lichtenstein, Zhang Xiaogang, Yoshitimo Nara and Andy Warhol. The selection was both prestigious and universal… a perfect reflection of the wealth of the Hong Kong marketplace. That’s why all the big auction houses, both Chinese and American, want to be there.

Indeed, this year, Hong Kong’s attractiveness convinced the Guangzhou-based auctioneer Holly’s International to expand its activities there. Founded in 1994, Holly’s has organised no less than seven sales in Hong Kong for the end of May 2019… its first venture into the city since it began operations.

Zao Wou-Ki reigns supreme

The best results at Christies and Phillips were, unsurprisingly, generated by the Franco-Chinese painter Zao Wou-Ki. Since his massive record of $57.5 million last September, the master of lyrical abstraction has joined the giants of the art market, taking third place in Artprice’s 2018 auction turnover ranking, just behind Pablo Picasso and Claude Monet.

The eight Zao Wou-Ki paintings offered for sale by Christies on 25 May 2019 generated $50 million, accounting for 45% of the sale’s total turnover. It was a remarkable performance, but it could have been better because the best piece among the eight, a large oil on canvas titled 02/01/65, failed to sell.

No doubt the on-demand estimate was above $30 million, a value that is consistent with the latest results, but which in view of the rapid inflation of Zao Wou- Ki’s prices, might take a little longer to prevail on the market. In 2010, the same work was acquired for just $2.7 million.

Success confirmed for Kaws and Richard Lin

The sales organised by Sothebys at the beginning of April 2019 were particularly marked by the unexpected record for the American street artist Kaws. Estimated between $800,000 and $1 million, his painting The Kaws Album (2005) reached a staggering $14.8 million (including fees). The new star of the Perrotin and Skarstedt galleries has had an exceptional start to the year on the secondary market.

Phillips generated a thirteenth result above the $1 million line with Half Full (2012). Acquired in New York at Christies in March 2018 for $444,500, this acrylic on canvas was resold for $1.4 million in Hong Kong, just 14 months later.

The abstract painter Richard Lin (1933-2011) also generated substantially buoyant results. Seven years after his death, interest in his work renewed his auction record three times in 2018. On 27 May 2019 his painting 1.3.1964 – Painting Relief dominated Bonhams’ Contemporary & Modern Art sale.

Prices stabilise for works by Contemporary Chinese artists

The prices of Chinese painters born in the 1950s are firming in Hong Kong. Without setting new records (set five or six years ago for most of them), this generation of new Chinese masters of the oil painting medium is enjoying strong demand in Asia… and reassuring collectors.

On 25 May, Zeng Fanzhi’s painting Mask (1996) sold just under $3 million at Christie’s, far below the $23 million recorded in 2013 for his much larger canvas The Last Supper (2001), a value he has never come close to since then… Similarly, and on the same day, Zhang Xiaogang’s Bloodline Series: The Big Family No. 10 (2000) sold for $1.6 million. In 2014 his Bloodline: The Big Family No.3 (1995) from the same series fetched over $12 million.

In view of these results, we are clearly seeing a price consolidation on works by Chinese artists from this generation: their values are tending to stabilise at very high levels. This trend has been confirmed, among other signs, by three successive results for Zhou Chunya’s painting Stone Series – The Tree Connected to Stone (1993):

$246,000 – 9 October 2006 (Sothebys Hong Kong)

$6,700,000 – 5 April 2014 (Sothebys Hong Kong)

$4,100,000 – 25 May 2019 (Christies Hong Kong)

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Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2019/03/2019-bio-whoswho-thierry-ehrmann.pdf).

Dicover Artprice in video: https://www.artprice.com/video

Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.

Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications.

For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2018 published last March 2019: https://www.artprice.com/artprice-reports/the-art-market-in-2018

Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.

About the Artron Group:

“Artron Art Group (Artron), a comprehensive cultural industrial group founded in 1993 by Wan jie, is committed to inheriting, enhancing and spreading art value. Based on abundant art data, Artron provides art industry and art fans with professional service and experience of quality products by integrated application of IT, advanced digital science and innovative crafts and materials.

Having produced more than 60,000 books and auction catalogues, Artron is the world’s largest art book printer with a total print volume of 300 million a year. It has more than 3 million professional members in the arts sector and an average of 15 million daily visits, making it the world’s leading art website.”

Artron’s Web: www.Artron.net

Artprice’s Contemporary Art Market Annual Report for 2018 – free access at:
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Artprice: the Art Market snaps up the new ‘Classics of Contemporary Art’

2019/05/22 Commentaires fermés

The Art Market might have seemed a little hungover in early 2019… in need of some event that would reassure everyone… and that’s exactly what New York’s prestige sales did last week. The results proved that the hammer prices recorded in Q1 in London, notably for David Hockney and Claude Monet, as well as in Hong Kong for Zhang Daqian and Kaws, reflect a new paradigm that is generally favorable for the global Art Market as a whole.

Evolution of the record auction price for a living artist Collective work thierry Ehrmann - The Abode of Chaos (Right)

Evolution of the record auction price for a living artist
Collective work thierry Ehrmann – The Abode of Chaos (Right)

thierry Ehrmann, Artprice’s founder/CEO, is delighted: “Within just five days, Christie’s, Sotheby’s, Phillips and Bonhams organized 16 sales in New York generating a total turnover of $2.06 billion! François Pinault’s organisation achieved the best performance thanks to a Post-War & Contemporary Art evening sale that alone took $539 million from just 51 lots sold.

Not only is demand strong for the best artworks… above all the market seems to have moved into a new paradigm that will allow it to renew its offer: it can now produce new ‘classics’ by offering ‘masterpieces of Contemporary art’.

This is what we saw with Jeff Koons’ Rabbit (1986) sculpture. It was presented by Christie’s as an ‘icon’ of Contemporary Art, in the same way as paintings by Jean-Michel Basquiat, and probably certain works by Damien Hirst as well. But we will have to wait until the next big sales to see confirmation of this trend.”

Jeff Koons is now more expensive than Van Gogh or Rubens…

A new record of $91 million – making Jeff Koons the world’s most valued living artist – also gives him a special place in Art History… To everyone’s surprise, his Rabbit (1986) became more expensive on the auction market than any of Van Gogh’s works to date. The Dutch master’s record is still standing at $82.5 million since his Portrait du Docteur Gachet sold in 1990.

Only 11 artists in auction history have ever generated results above the Jeff Koons Rabbit: da Vinci, Picasso, Modigliani, Bacon, Qi Baishi, Munch, Monet, Basquiat, Warhol, Lichtenstein and Hopper. If the Jeff Koons Market has been somewhat dormant in recent years, it is now completely revived… And with him, the entire Contemporary Art machine has received a boost.

Rauschenberg at the top

Two years after his retrospective at the MoMA and the Tate Modern, Robert Rauschenberg is a bright star of the auction market. The American artist-sculptor, who campaigned for the introduction of artists’ resale rights after the sale of the Robert Scull collection in 1973, probably didn’t imagine that his works would ever reach such amounts.

On 15 May 2019, his Buffalo II reached $88 million at Christie’s. Locked up for 54 years in the collection of Robert B. Mayer, who acquired it directly from the Leo Castelli Gallery, this painting is both an ode to and a critique of the American Dream. This new record puts him in the same league as his contemporaries Andy Warhol ($105.4 million) and Roy Lichtenstein ($96.4 million).

Monet triggers the 10th best-ever Fine Art auction result of all time

As exciting as a summer soap opera…! After the announcement of the sale of Claude Monet’s (1840-1926) Meules at Sotheby’s NY on 14 May, the question of a possible record was on everyone’s lips! The last haystacks painting auctioned – with similar dimensions, date and composition – fetched more than $80 million at Christie’s NY in November 2016. Monet’s absolute record dates back to the sale of the Rockefeller collection in May 2018 when his Nymphéas en fleur fetched nearly $85 million (also at Christie’s NY)… The suspense is now over: for eight long minutes on 14 May six bidders competed for the masterpiece. Harry Dalmeny finally brought the hammer down at $110.7 million. That’s more than 40 times its previous value: already sold in 1986 for $2.53 million, the work belonged to the descendants of Bertha and Potter Palmer, wealthy Chicago collectors, who acquired the Meules painting through Paul Durand-Ruel in 1891.

Sotheby’s had already set the bar high – betting on the work’s prestigious provenance – giving the work a low estimate of $55 million (a fact that did not go unnoticed in the art press)… However, in the end, an Impressionist painting has crossed the symbolic threshold of $100 million for the first time ever. Meules also enters the Top 10 most expensive artworks ever sold publicly. The interest for the Impressionists and 19th century works is undeniable, despite the attraction for Contemporary Art and the new generation of bidders arriving on the market. Asian collectors are particularly enthusiastic and are now contribute to the stability of this section of the market.

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Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications.

For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2018 published last March 2019: https://www.artprice.com/artprice-reports/the-art-market-in-2018

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Having produced more than 60,000 books and auction catalogues, Artron is the world’s largest art book printer with a total print volume of 300 million a year. It has more than 3 million professional members in the arts sector and an average of 15 million daily visits, making it the world’s leading art website.”

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Artprice:雕塑,未来的媒介!

2019/05/16 Commentaires fermés
                                     《Le Messager》(使者)       Abode of Chaos 博物馆藏品 / thierry Ehrmann - Rémy Teulier

《Le Messager》(使者)
Abode of Chaos 博物馆藏品 / thierry Ehrmann – Rémy Teulier

[https://imgpublic.artprice.com/img/wp/sites/11/2019/05/le-messager.jpg]

thierry Ehrmann: 除了在西方世界和其他地区几乎所有的城市和城镇都能见到的纪念雕像以外,大城市通常还喜欢在公共区域修建大型纪念雕塑。纽约矗立着一些由 Robert IndianaAlexander CalderJean Dubuffet Pablo Picasso 创造的作品,而在巴黎则可以看到 CésarDaniel Buren 以及 Jeff Koons 的作品。”

诚然,考虑到占据大城市公共区域的作品(无论临时还是永久)数量,有一部分引发了争议(有时甚至异常激烈)也不足为奇。近年来,法国(尤其是巴黎)已经成为艺术争议的高发地。比如,凡登广场上关于 Paul McCarthy 的作品——《Tree (2014) 的争议,凡尔赛城里关于 Anish Kapoor 的作品——《Dirty Corner (2015) 的争议,以及蓬皮杜中心门前关于 Joep Van Lieshout 的作品——《Domestikator (2017) 的争议。

这些纪念作品规模庞大,在当地城市或景观环境中异常显眼,增添了雕塑的“震撼效果”。Arman 在贝鲁特创作的雕塑作品——Espoir de paix (1995) 便是一个很好的例证,该雕塑是一座高 32 米的混凝土塔楼,里面架设了几十架真正的坦克。

在世界各地,有越来越多的空间让位于雕塑,包括一些永久展览场地(比如新西兰的吉布斯农场,或者日本的Na直岛町和丰岛 Islands)和年度活动(比如每年秋季在伦敦举办的弗里兹雕塑 (Frieze Sculpture))。

由于这些地区专门为此进行了特别设计,出现了新的机遇,因此雕塑最终突破了建筑和绘画的范围。

艺术市场上的雕塑

长期以来,收藏家一直对展示、储存和运输难度高于二维作品的媒介望而却步。但是,在 2003 年到 2008 年间,雕塑作品拍卖带来的收益翻了 4.5 倍。近五年来,二级市场上的全球雕塑销售收益从 2.45 亿美元增加到 11 亿美元。

受金融危机影响而下滑的雕塑销售收益很快恢复,并在 2014 年和 2015 年表现尤其出众。

全球雕塑拍卖收益

全球雕塑拍卖收益

全球雕塑拍卖收益

[https://imgpublic.artprice.com/img/wp/sites/11/2019/05/artprice-sculpture-en.png]

Artprice 的首席执行官兼创始人 thierry Ehrmann解释道:“雕塑市场正朝着相反的方向发展,最终实现非物质化:在一个信息、图像和资金几乎瞬时流动的世界里,大体量的钢铁或青铜雕塑具有更重要的意义。

几个世纪以来,绘画和油画作品由于具备实用性,一直在艺术市场占据主导地位,但如今,雕塑作品回归一线也屡见不鲜。三维作品可以更好地表达自由,在 21 世纪的今天,人们在物流方面的顾虑也大为减少。”

Kitsch 引领当代雕塑市场

Jeff Koons 1986 年创作的三件 Rabbit 雕塑中,有一件将于 2019 5 15 日在纽约佳士得拍卖行进行拍卖,该雕塑的估价为 5000 – 7000 万美元。这件一米高的不锈钢杰作(三件作品中的一件,外加 1 件艺术家试印版)可以说是 Jeff Koons 最具代表性的作品,甚至可能是当代艺术中最具代表性的作品(至少在当代意味着后现代、概念性或者非智力的媚俗艺术时可以这样说……)。

六年前,Jeff Koons 凭借作品——《Balloon Dog(1994-2000) 一跃成为艺术市场身价最高的在世艺术家。2013 11 12 日,这件橙色作品在纽约佳士得拍卖行售出 5840 万美元的高价。Koons 重拾“身价最高的在世艺术家”头衔希望渺茫,只有当他的作品——Rabbit (1986) 的售价超过 9030 万美元,也就是 David Hockney 的作品Portrait of an Artist (1972) 拍出的价格时,才能实现这一点。但是,这件作品还是促使了这位“媚俗王子”的市场以及整个当代艺术市场的复苏。

Alberto Giacometti,无可争辩的领导者

雕塑品拍卖会上创下最高拍卖纪录的三件作品全部由 Alberto Giacometti 创作。三件作品最终的售价均超过 1 亿美元,所以,Giacometti 无疑是有史以来身价最高的艺术家,也是二级市场上最成功的的雕塑家。

但是,在同一件作品的五个版本(包括一件艺术家试印版)同时存在的情况下,他的 LHomme au doigt(1947) 是如何在 2015 5 月的纽约佳士得拍卖会上拍出 1.41 亿美元高价的呢?雕塑的可复制性一直被视为影响价格的一个弱点,但这个弱点也可以成为一种优势。因为拥有一件LHomme au doigt(1947) 这样的作品主要是为了和世界最大的博物馆共享一件作品,比如现代艺术博物馆、泰特现代艺术馆和得梅因艺术中心。

Brancusi 主导 2018

Constantin Brancusi 的作品—— The Sophisticated GirlNancy Cunard 的肖像)(1928) 高度仅有 55 厘米,于 2018 5 15 日在纽约佳士得拍卖行以 7100 万美元的价格售出,促使这位法国和罗马尼亚混血雕塑家成为全球艺术市场的领导者。这是当年最好的雕塑拍卖结果,在所有类别的美术作品最佳拍卖结果中排名第八。

1927 年,“Brancusi 诉美国”案成为艺术史上的一个重要转折点。对于前美国海关来说,Brancusi 的雕塑并非严格意义上的艺术品,但此案迫使当局扩展了艺术品的概念。九十年后,人们对此再无一丝怀疑:Brancusi 被誉为 20 世纪最重要的艺术家之一。美国最高法院已经对艺术品的“认知价值”作出了定义。

Artprice Demeure du Chaos/Abode of Chaos

1999 年,Artprice 将总部设在 Organe Contemporary Art Museum,该博物馆对 Demeure du Chaos/Abode of Chaos 实施管理。这家露天博物馆占地 9000 平方米,倡导自由精神,并且供人们免费参观。博物馆中收藏了 5400 件艺术品、720 件纪念雕塑(重量从 5 吨到 120 吨不等),以及一件准备用来庆祝 20 周年纪念的雕塑作品:重 235 吨的原钢雕塑(尺寸为:3.33 x 3.33 x 3.33 米)。

这里所有的原钢雕塑均由 Artprice 的首席执行官兼创始人 thierry Ehrmann 创作。从 1980 年起,他便是一名雕塑家,也就是说,三十九年来,他一直对艺术怀有巨大的热情,他也很乐于和世界各地的游客分享这种热情。

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Artprice 在巴黎泛欧证券交易所上市 (仅用于股票研究数据库):欧洲结算系统:7478 – Bloomberg: PRC – Reuters: ARTF

Artprice 的创始人为 thierry Ehrmann(查看其认证简介)(c) https://imgpublic.artprice.com/img/wp/sites/11/2019/03/2019-bio-whoswho-thierry-ehrmann.pdf)

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Artprice 是全球领先的艺术市场行情及指数数据库。其拥有超过 3000 万条拍卖指数和拍卖结果,涵盖了 70 多万名艺术家。Artprice Images® 提供无访问限制的世界艺术市场上最大的数据图库,数据库中共有 自 1700 年至今的 1.26 亿张图片和艺术作品,以及 Artprice 艺术史学家的解说信息。

Artprice 6300 家拍卖行收集艺术拍卖信息不断丰富其数据库,并在全球主要新闻机构和约 7200 家国际新闻媒体上不断更新艺术市场趋势信息。

Artprice 为其 450 万会员提供访问世界领先的标准化艺术品市场的渠道,从而进行艺术品买卖交易。Artprice 正在筹建艺术市场区块链。以下是 BPI-标记(法国国家科学标志)Artprice 2019 3 月出版的 2018 年全球艺术市场年度报告:https://www.artprice.com/artprice-reports/the-art-market-in-2018

Artprice 与中国艺术市场领先企业雅昌文化集团密切合作,后者是其坚实的机构合作伙伴。

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雅昌文化集团是由万捷于 1993 年创立的一家综合性文化产业集团,致力于传承、提升和传播艺术价值。以丰富的艺术数据为基础,雅昌集团通过整合和应用 IT 技术、数字科学以及创新型的工艺和材料为艺术产业以及艺术爱好者们提供专业的服务和高品质产品体验。

雅昌已经制作了 6 万多本书籍和拍卖目录,是世界上最大的艺术书籍印刷商,年印刷总量达 3 亿。它在艺术领域拥有 300 多万专业会员,平均日访问量达 1500 万,使其成为世界领先的艺术网站”

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Artprice: Sculpture, the medium of tomorrow

2019/05/13 Commentaires fermés
Le Messager The Abode of Chaos collective work / thierry Ehrmann - Rémy Teulier

Le Messager
The Abode of Chaos collective work / thierry Ehrmann – Rémy Teulier

[https://imgpublic.artprice.com/img/wp/sites/11/2019/05/le-messager.jpg]

thierry Ehrmann: “Apart from commemorative statues that can be found in nearly all the towns and cities in the Western World and elsewhere, big cities have always been fond of large and monumental sculptures in public spaces. In New York there are works by Robert Indiana, Alexander Calder, Jean Dubuffet and Pablo Picasso, while in Paris you can find works by César, Daniel Buren… and soon, Jeff Koons.”

Indeed, considering the number of works that have occupied public places in major cities, either temporarily or permanently, it is not surprising that some have elicited controversy… and sometimes, quite heated. In recent years, France – and Paris in particular – has been the setting for a number of art controversies such as those surrounding Paul McCarthy’s Tree (2014) on the Place Vendome, Anish Kapoor’s Dirty Corner (2015) at Versailles and Joep Van Lieshout’s Domestikator (2017) in front of the Pompidou Center.

The sheer size of these monumental works often adds to their “shock effect” as they dominate the local urban or landscaped environments.Arman’s sculpture in Beirut, Espoir de paix (1995), a 32-meter-high concrete tower containing dozens of real tanks, is a good example.

There are more and more spaces devoted to sculpture around the world: permanent exhibition sites, such as the Gibbs Farm in New Zealand or Naoshima and Teshima Islands in Japan, as well as annual events such as Frieze Sculpture held every autumn in London.

Thanks to these new opportunities in places designed specifically for the purpose, sculpture is definitively liberating itself from architecture and painting.

Sculpture on the Art Market

Collectors have long been intimidated by a medium that is more complicated to display, store and transport than two-dimensional works. However, between 2003 and 2008, the volume of auction turnover generated by sculptures multiplied 4.5 times. In just five years, worldwide sculpture sales on the secondary market rose from $245 million to $1.1 billion.

Stalled by the financial crisis, sculpture sales immediately recovered and then enjoyed two particularly good years in 2014 and 2015.

Global auction turnover from sculpture

Global auction turnover from sculpture

Global auction turnover from sculpture

[https://imgpublic.artprice.com/img/wp/sites/11/2019/05/artprice-sculpture-en.png]

thierry Ehrmann, Artprice’s CEO and founder, explains: The sculpture market is moving in the opposite direction to dematerialization: in a world of almostinstant flows of information, images and money, the massive weight of a steel or bronze sculpture has greater significance.

For centuries, drawing and painting dominated the Art Market for practical reasons; but it is perfectly normal to see sculpture returning to the forefront today. A 3-dimensional work expresses greater freedom, and, in the 21st century, logistical considerations are much less challenging.

Kitsch leads Contemporary sculpture market

On 15 May 2019, one of Jeff Koons’ three 1986 Rabbit sculptures will be offered for sale at Christie’s in New York with an estimated price range of $50 – $70 million. This exceptional 1-meter high stainless steel work (from an edition of 3, plus 1 artist’s proof), is arguably Jeff Koons’ most iconic work, and perhaps Contemporary art’s most iconic work as well (at least insofar as Contemporary means post-modern, conceptual or its less intellectual brother-in-arms, kitsch…).

Six years ago, Jeff Koons became the most expensive living artist on the Art Market with his Balloon Dog (1994-2000). The orange version sold for $58.4 million on 12 November 2013 at Christie’s in New York. It is unlikely that Koons will recover his “most valued living artist” title; to do so, his Rabbit (1986) would have to fetch over $90.3 million, the amount paid for David Hockney’s Portrait of an Artist (1972). However the piece may well revive the Prince of Kitsch’s market, as well as all the Contemporary Art as a whole.

Alberto Giacometti, the undisputed leader

The top three prices ever recorded at auction for sculptures were all hammered for works by Alberto Giacometti. With three results above the $100 million threshold, Giacometti is one of the most expensive artists in history and, without a doubt, the most successful sculptor on the secondary market.

But how did his L’Homme au doigt (1947) reach $141 million at Christie’s New York in May 2015 when there are five other versions of the same work (plus an artist’s proof)? In price terms, sculpture’s reproducibility is often seen as a weak point, but the same characteristic can also be its strength. Because owning a work like L’Homme au doigt (1947) is to share a work with the greatest museums in the world, including the MoMA, the Tate Modern and the Des Moines Art Center.

Brancusi dominates 2018

Measuring just 55 cm high, Constantin Brancusi’s The Sophisticated Girl (Portrait of Nancy Cunard) (1928) was acquired for $71 million on 15 May 2018 at Christie’s in New York, propelling the Franco-Romanian sculptor to the forefront of the global Art Market. It was the year’s best sculpture result and the 8th best Fine Art result in all categories.

In 1927, the “Brancusi versus the United States” trial marked a major turning point in Art History. For the former US Customs Service, Brancusi’s sculptures were not, strictly speaking, artworks… but the trial forced the authorities to broaden the notion of an artwork. Ninety years later, not a shred of doubt remains: Brancusi is celebrated as one of the most important artists of the 20th century. The American Supreme Court had just defined the ‘cognitive value’ of a work of art.

Artprice and the Demeure du Chaos/Abode of Chaos

In 1999, Artprice set up its headquarters within the Organe Contemporary Art Museum, which manages the Demeure du Chaos/Abode of Chaos. This open-air museum of 9,000 square meters, bothfree in spirit and free for visitors, is home to 5,400 artworks, 720 monumental sculptures (from 5 to 120 tons) with one currently being prepared to celebrate its 20th anniversary: a steel sculpture weighing 235 tons (measuring 3.33m x 3.33m x 3.33m).

All the raw steel sculptures on the site have been created by thierry Ehrmann, CEO and founderof Artprice, but also a sculptor since 1980, which means thirty-nine years of a passion for art that he gladly shares with visitors from all over the world.

Copyright ©2019 thierry Ehrmann – www.artprice.com

Try our services (free demo):

https://www.artprice.com/artist/23640/baishi-qi

Subscribe to our services:

https://www.artprice.com/subscription

About Artprice:

Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.

Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2019/03/2019-bio-whoswho-thierry-ehrmann.pdf).

Dicover Artprice in video: https://www.artprice.com/video

Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.

Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications.

For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2018 published last March 2019: https://www.artprice.com/artprice-reports/the-art-market-in-2018

Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.

About the Artron Group:

“Artron Art Group (Artron), a comprehensive cultural industrial group founded in 1993 by Wan jie, is committed to inheriting, enhancing and spreading art value. Based on abundant art data, Artron provides art industry and art fans with professional service and experience of quality products by integrated application of IT, advanced digital science and innovative crafts and materials.

Having produced more than 60,000 books and auction catalogues, Artron is the world’s largest art book printer with a total print volume of 300 million a year. It has more than 3 million professional members in the arts sector and an average of 15 million daily visits, making it the world’s leading art website.”

Artron’s Web: www.Artron.net

Artprice’s Contemporary Art Market Annual Report for 2018 – free access at:
https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2018

Artprice’s press releases:

http://serveur.serveur.com/Press_Release/pressreleaseen.htm

https://twitter.com/artpricedotcom

Artmarket News:

https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom

https://www.facebook.com/artpricedotcom 4 million subscribers

http://artmarketinsight.wordpress.com/

Discover the Alchemy and the universe of Artprice http://web.artprice.com/video, which headquarters are the famous Museum of Contemporary Art, the Abode of Chaos: https://issuu.com/demeureduchaos/docs/demeureduchaos-abodeofchaos-opus-ix-1999-2013

https://vimeo.com/124643720

The Contemporary Art Museum The Abode of Chaos

https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999 3.6 million subscribers

Contact: ir@artprice.com

ARTPRICE: Big is beautiful…

2019/05/07 Commentaires fermés

One of Louise Bourgeois’s six Spider sculptures, measuring more than 7 meters across and 3 meters tall, will be offered for sale at Christies on 15 May 2019 in New York. Numbered 3/6 in the series, the work already fetched $28.2 million in 2015 and Louise Bourgeoiss prices have stayed steady since then.
It could become the most expensive artwork by a female artist ever sold at auction.

Giuseppe Bezzuloli (1784 - 1855) - Folly driving the chariot of Love L: 4.8 m; H: 3.4 m.

Giuseppe Bezzuloli (1784 – 1855) – Folly driving the chariot of Love L: 4.8 m; H: 3.4 m.

Like it or not, when it comes to art, size is very important. Giant works fascinate us because they transcend our own scale. Who isn’t impressed by huge paintings like Pablo Picasso’s Guernica (at the Reina Sofía Museum in Madrid) or Veroneses Les Noces de Cana (at the Louvre Museum in Paris)?” says thierry Ehrmann, Artprice’s Founder/CEO

In general, an artist’s largest works attract the strongest demand. For equivalent quality, the larger works will almost always be worth more than the smaller works.

This week, Artprice picks out a selection of 10 monumental works auctioned in 2018 in each of the major artistic mediums.

PAINTINGS

Zao Wou-Ki Juin-Octobre 1985

10 x 2.8 meters

On 30 September 2018, Zao Wou-Ki’s Juin-Octobre 1985 triptych – his largest work still in circulation – caused a major sensation when it was re-offered for sale at Sotheby’s. In May 2005, Christies sold the same work in Hong Kong for $2.3 million. Thirteen and a half years later, its value exceeded $65 million, i.e. no less than 28 times its previous value.

Mark Bradford Helter Skelter I (2007)

10 x 3.65 meters

American painter Mark Bradford had a particularly good year in 2018. In 2017, he represented the United States at the Venice Biennale. But it wasn’t until the first half of the following year that his prices began to inflate rapidly, generating three new auction records.

On 8 March 2018, his Helter Skelter I (2007) came close to $12 million at Phillips in London. This huge piece was a key element in the exhibition Collage: The Unmonumental Picture organized by the New York Museum in New York in 2008.

Osgemeos It is Supposed to be Raining But… (2008)

2.5 x 2.5 metres

This large format canvas allowed the Brazilian duo of graphic artists to express their art in superb style. Accustomed to large facades, the two street artists have produced a large number of reasonably dimensioned paintings for the market. However, their very large canvases capture all the power of their street art. On 26 June 2018, the painting fetched $132,000 at Phillips in London.

DRAWINGS

Takashi Murakami Dragon in Clouds-Red Mutation (2010)

18 x 3.6 meters

Takashi Murakami’s imaginary world stands at the crossroads of manga culture and Sino-Japanese mythology. In April 2018, the auction house Council sold one of his three large-scale interpretations of Asia’s most popular mythical creature, the dragon. His colossal drawing red ink on paper – titled Dragon in Clouds-Red Mutation seduced Chinese collectors in Shanghai, fetching more than $8.8 million.

Giuseppe Bezzuloli Folly driving the cart of Love

481 x 344 cm.

Commissioned in 1848 to paint the ceiling of the Palazzo Gerini in Florence, Giuseppe Bezzuloli executed this study on the theme of Love and Madness. The final fresco still adorns the ceiling of the famous Tuscan Palace.

Estimated between $50,000 and $80,000, the drawing was purchased for $275,000 at Christies in New York on 30 January 2018. Nowadays, very large-scale historical works are extremely rare on the market and this post-Renaissance drawing – which still retains all its power – was a superb acquisition.

SCULPTURE

KAWS Clean Slate (2014)

5.5 x 5.5 x 7.5 meters

Kaws is currently an in vogue artist par excellence… from New York… to Hong Kong. The American street artist has conquered the international art market with his colorful paintings, his large-scale figurines and his monumental sculptures. Clean Slate (2014) was shown all around the world (Shanghai, Ibiza, Hong Kong and Fort Worth) before being put on sale by Phillips in New York, where it was acquired for nearly $2 million.

Philippe de Buyster (Attrib.) Vierge de pitié (c.1650-60)

1.6 x 0.5 x 1.3 meters

This 17th century Pietà was one of the very few large-scale Old Master works sold last year. In perfect condition, the terracotta sculpture came from the Chapel of Château d’Autricourt in Burgundy (France). Christies sold the piece for $58,000 (including costs) in Paris on 19 June 2018.

Joana Vasconcelos Betty Boop (2010)

4.1 x 1.5 x 3 meters

This huge high-heeled shoe made of stainless steel pots and concrete is a perfect example of Joana Vasconcelos’s taste for oversize. The Franco-Portuguese artist has never been afraid to invest large places like the Bon Marché department store in Paris or the Palace of Versailles where Betty Boop (2010) was presented in the Hall of Mirrors in 2012.

PHOTOGRAPHY

Gilbert & George – Thirty-Five Locations (2003)

422 x 361 cm

The British duo Gilbert & George is not doing as well on the secondary market as in 2008, but their unique large-format photos continue to fetch very good prices. Consisting of 24 rectangular sections, Thirty-Five Locations resembles a huge stained glass window in black, white and red. It was the largest photographic work sold during 2018 and fetched $150,000 at Sotheby’s in New York (17 May).

MIXED MEDIA

Tracey Emin Dark Dark Dark (2007)

3.6 x 1.6 x 1.5 metres

In 2007 Artwise commissioned Tracey Emin to customise four Fiat 500s (each unique) for a charity sale. On 5 December 2018 at Phillips’ New Now sale, one of them fetched $8,000. In the catalogue Phillips warned Please note this lot is offered as an art work, and not a motor vehicle…

The use of motor vehicles as an artistic medium may seem bizarre, but several major artists have lent themselves to the exercise in the past. The BMW Art Car project, for example, allowed Andy Warhol, David Hockney and Jeff Koons to completely transform the exteriors of cars.

Copyright ©2019 thierry Ehrmann – www.artprice.com

Try our services (free demo):

https://www.artprice.com/artist/23640/baishi-qi

Subscribe to our services:

https://www.artprice.com/subscription

About Artprice:

Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.

Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2019/03/2019-bio-whoswho-thierry-ehrmann.pdf).

Dicover Artprice in video: https://www.artprice.com/video

Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.

Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications.

For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2018 published last March 2019: https://www.artprice.com/artprice-reports/the-art-market-in-2018

Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.

About the Artron Group:

“Artron Art Group (Artron), a comprehensive cultural industrial group founded in 1993 by Wan jie, is committed to inheriting, enhancing and spreading art value. Based on abundant art data, Artron provides art industry and art fans with professional service and experience of quality products by integrated application of IT, advanced digital science and innovative crafts and materials.

Having produced more than 60,000 books and auction catalogues, Artron is the world’s largest art book printer with a total print volume of 300 million a year. It has more than 3 million professional members in the arts sector and an average of 15 million daily visits, making it the world’s leading art website.”

Artron’s Web: www.Artron.net

Artprice’s Contemporary Art Market Annual Report for 2018 – free access at:
https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2018

Artprice’s press releases:

http://serveur.serveur.com/Press_Release/pressreleaseen.htm

https://twitter.com/artpricedotcom

Artmarket News:

https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom

https://www.facebook.com/artpricedotcom 4 million subscribers

http://artmarketinsight.wordpress.com/

Discover the Alchemy and the universe of Artprice http://web.artprice.com/video, which headquarters are the famous Museum of Contemporary Art, the Abode of Chaos: https://issuu.com/demeureduchaos/docs/demeureduchaos-abodeofchaos-opus-ix-1999-2013

https://vimeo.com/124643720

The Contemporary Art Museum The Abode of Chaos

https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999 3.6 million subscribers

Contact: ir@artprice.com

Artprice: the 10 top-selling artworks created after the 2008 financial crisis

2019/04/24 Commentaires fermés

Artprice: the 10 top-selling artworks created after the 2008 financial crisis

The year 2008 marked a turning point for the Art Market and for the global economy as a whole. In retrospect, Sothebys 15 September 2008 sale Beautiful Inside My Head Forever dedicated to works by Damien Hirst – just hours before the collapse of Lehman Brothers Bank and its repercussions on art sales throughout the world – now looks like the swan song of a different era.

However, as thierry Ehrmann, Founder/CEO of Artprice tells us, “the impact of the financial crisis did not affect artistic creation; the significant changes we have seen since 2008 are essentially due to changes within the internal structure of the Art Market.

The main development is of course the growth of the Chinese market, but we have also seen the growth of Art as a financial investment. Negative or nearzero interest rates, which undermine the value of savings, have increasingly pushed capital towards alternative investments… and Art generates very attractive returns. The large number of artworks created over the last ten years that have already sold in public auctions prove that Contemporary Art represents a sensational market.

Global Fine Art auction turnover

Global Fine Art auction turnover

Global Fine Art auction turnover


[https://imgpublic.artprice.com/img/wp/sites/11/2019/04/auction-turnover.png]

Artprice presents 10 artists who have already marked the secondary market with works created after the 2008 financial crisis.

1. Cui Ruzhuo (b. 1944): The Grand Snowing Mountains (2013)

$39,577,000 – 4 April 2016, Poly Auction, Hong Kong

The Chinese painter Cui Ruzhuo is one of the most successful living artists in the Art Market, on a par with Gerhard Richter and David Hockney. However, unlike the latter two, his best worksthose for which demand is the strongestare his most recent. The result hammered for a mountain-scene panorama measuring over 8 meters wide and 3 meters highThe Grand Snowing Mountains (2013) – illustrates the immense success of this new giant of Chinese painting who remains far too unknown in the West.

2. Jeff Koons (b. 1955): Popeye (2009/11)

$28,165,000 14 May 2014, Sothebys, New York

A month before his retrospective began at the Whitney Museum (27 June 27 – 19 October 2014), the Prince of Kitsch Jeff Koons saw his Popeye sculpture (2009/11) become the subject of furious bidding at an evening sale at Sotheby’s New York. The sculpture, the first in a series of three, was to be one of the highlights of the Jeff Koons exhibition at the Whitney Museum, and was also shown at the Centre Pompidou in Paris and the Bilbao Guggenheim.

3. Mark Grotjahn (b. 1968): Untitled (S III Released to France Face 43.14) (2011)

$16,767,500 – 17 May 2017, Christies, New York

Represented by the Gagosian Gallery since 2008, the American painter Mark Grothjahn saw his prices rise gradually until 2017. Then, in the space of just twelve months, his price index shot up 75% before falling back again the following year. In 2018, another of his large format paintings, Untitled (Black over Red Orange « Mean as a Snake » Face 842) (2010), fetched $7,073,000.

4. Gerhard Richter (b. 1932): Abstraktes Bild (2009)

$9,093,300 – 5 March 2019, Sothebys, London

Large abstract paintings by Gerhard Richter are among the most expensive artworks in the world. In February 2015, Abstraktes bild (1986) fetched over $46 million setting a sensational record for Germanys Art Market leader. The sale of Abstraktes Bild (2009) shows that collectors are increasingly valuing his recent production, which could be as valuable as his earlier works (1965 – 1990) in the long run.

5. Rudolf Stingel (b. 1956): Untitled (2012)

$7,939,000 – 8 March 2018, Phillips London

Rudolf Stingel is also supported Larry Gagosian and has also greatly benefited from the dealer’s international power and standing. In 2015, the Gagosian presented Stingel’s work in Asia for the first time with a series of paintings Untitled (2012) that reproduced wall fragments from his double exhibition at the Chicago Museum of Contemporary Art and the Whitney Museum in New York in 2007. During those shows, visitors were invited to write inscriptions of all kinds on the walls of the two prestigious museums. Stingel reproduced certain details using electro-formed copper which he subsequently covered with gold.

6. Jin Shangyi (b. 1934): Peony Pavilion (2013)

$7,829,400 – 31 May 2014, China Guardian, Canton

Chinese painter Jin Shangyi is a master oil painter. Known for his portraits (including female nudes in the late 1980s), he is one of the most original Chinese artists of his generation. His work was much in demand in 2013, as shown by the value of his 1999 canvas Monk Painter Kun Can ( ):

– $2,088,500, 13 May 2007 China Guardian, Beijing

$6,326,500, 1 June 2013 Poly Auction, Beijing

– $4,436,500, 16 June 2018 China Guardian, Beijing

7. Yayoi Kusama (b. 1929): Pumpkin (TWPOT) (2010)

$6,937,500 – 1 April 2019, Sothebys, Hong Kong

She is the most successful female artist on the global Art Market, all periods of creation combined. The 707 works by Yayoi Kusama auctioned around the world in 2018 generated $103 million, covering more than sixty years of artistic creation from the early 1950s to canvases painted in the past 5 years, which are already being resold.

8. Adrian Ghenie (b. 1977): Boogeyman (2010)

$6,354,000 5 October 2018, Sotheby’s, London

The youngest artist in this ranking and the figurehead of new European expressionism, the Romanian painter Adrian Ghenie joined the Pace Gallery in 2013 and his work has already been purchased by some of the worlds leading Contemporary Art museums, including the Centre Georges Pompidou. Both tenebrous and colorful, his paintings do not hide the influence of Van Gogh and Francis Bacon, sometimes with quite direct references.

9. George Condo (b. 1957): Nude and forms (2014)

$6,162,500 – 17 May 2018, Christies, New York

In 2018, George Condo conquered the world. With more than $55 million in auction turnover between New York (56%), London (30%) and Hong Kong (12%), Condo is one of the top 50 most successful artists of all time. His market is now more active than that of Jasper Johns or Frank Stella.

10. Mark Tansey (b. 1949): Hedge (2011)

$5,653,000 – 14 May 2015, Phillips, New York

Although Mark Tansey’s works rarely appear at auction (a total of just 103 lots over the last 30 years), demand is ever-stronger for his work. Today his market is entirely divided between New York (90%) and London (10%), but he is very likely to be sold in Asia soon.

Copyright ©2019 thierry Ehrmann – www.artprice.com

Try our services (free demo):

https://www.artprice.com/artist/23640/baishi-qi

Subscribe to our services:

https://www.artprice.com/subscription

About Artprice:

Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.

Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2019/03/2019-bio-whoswho-thierry-ehrmann.pdf).

Dicover Artprice in video: https://www.artprice.com/video

Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.

Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications.

For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2018 published last March 2019: https://www.artprice.com/artprice-reports/the-art-market-in-2018

Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.

About the Artron Group:

“Artron Art Group (Artron), a comprehensive cultural industrial group founded in 1993 by Wan jie, is committed to inheriting, enhancing and spreading art value. Based on abundant art data, Artron provides art industry and art fans with professional service and experience of quality products by integrated application of IT, advanced digital science and innovative crafts and materials.

Having produced more than 60,000 books and auction catalogues, Artron is the world’s largest art book printer with a total print volume of 300 million a year. It has more than 3 million professional members in the arts sector and an average of 15 million daily visits, making it the world’s leading art website.”

Artron’s Web: www.Artron.net

Artprice’s Contemporary Art Market Annual Report for 2018 – free access at:
https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2018

Artprice’s press releases:

http://serveur.serveur.com/Press_Release/pressreleaseen.htm

https://twitter.com/artpricedotcom

Artmarket News:

https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom

https://www.facebook.com/artpricedotcom 4 million subscribers

http://artmarketinsight.wordpress.com/

Discover the Alchemy and the universe of Artprice http://web.artprice.com/video, which headquarters are the famous Museum of Contemporary Art, the Abode of Chaos: https://issuu.com/demeureduchaos/docs/demeureduchaos-abodeofchaos-opus-ix-1999-2013

https://vimeo.com/124643720

The Contemporary Art Museum The Abode of Chaos

https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999 3.6 million subscribers

Contact: ir@artprice.com

Artprice: 予測し、好機を待つすべを知る者にとって、あらゆるアート市場部門が金鉱に。

2019/04/17 Commentaires fermés

Artprice: 予測し、好機を待つすべを知る者にとって、あらゆるアート市場部門が金鉱に。

Artprice.comCEO Thierry Ehrmannによれば、「Artpriceを利用しているクライアント各位は、アート作品がオークオークションからオークションへと転々と場所を変えて登場するさまを追跡し、アート作品コレクターがいかにしてアート市場の動きを予測し、長期的なタームにおいて利益を獲得しているのか理解することができます。

2019年の第一四半期を見ると、大半の一流アート作品ロットの動きによって「アートが過去30年にわたって非常にすぐれた投資収益性を有してきた」事実が証明されています。もっとも顕著な例は、David HockneyHenry Geldzahler and Christopher Scott (1969)でしょう。この作品は、20193月、ロンドンのクリスティーズにおいて、この四半期の最高額となる4900万ドル超で落札されました。ところが2x3mサイズのこの作品は、199211月にはわずか100万円ドルで販売されています」。

「画像の挿入」

Paul Signac (1863-1935) Le Port au soleil couchant, Opus 236 (Saint-Tropez) (1892)

Paul Signac (1863-1935) Le Port au soleil couchant, Opus 236 (Saint-Tropez) (1892)

Paul Signacの作品Le Port au soleil couchant provesの価格成長を見ると、もっともすぐれた投資回収が戦後ならびに現代作品に限られた特権ではないことが証明されています。

この海辺の光景が3度にわたってオークションに出品された事実は、西洋美術史で認められた歴史的芸術家が、オークションにおいてコンスタントに高く評価されてきたことを示しています。

1980512日:49万ドル – サザビーズ ニューヨーク

1993511日:180万ドル サザビーズ ニューヨーク

2019227日:2600万ドル クリスティーズ ロンドン

バスキアの継続的な市場リード

Jean-Michel Basquiatの作品が有する市場覇権は、2019年度第一期においては以前ほどメディア化されていませんが、このアメリカの寵児は、今年度同期の落札額トップテンに3作品をランキングさせています。201935日、ロンドンのサザビーズにおいて薬物過剰服用で死去する2年前に手がけられた作品Apex(1986)1080万ドルを記録しました。これは、19886月に同作品がはじめてオークションに出品された際の落札額29400ドルを実に370倍上回ります。

また鉛筆画Soothsayer (1983)が見せた成績は、バスキア人気が特定の分野に限定されていないことを証明しています。20026月に32900ドルで獲得されたこの小作品は、201935日には997600ドルで落札され、過去17年間の年間投資利益率が平均22%上昇していることを明らかにしました。

同じく、サザビーズによる同セッションで落札されたぺーパーコラージュ作品Untitled (1987)も、非常に顕著な上昇傾向を明らかにしています。

– 1993325日、ロンドンのクリスティーズで26700ドルで落札

– 201935日、ロンドンのサザビーズで1321000ドルで落札

バスキアに限らず数々のアーティストにおいて、このような価格の著しい上昇が観察されてきました。フランスのミニマルアート作家Daniel Buren (1938)も、異例な価格成長を享受しています。四半世紀前にその作品のポテンシャルを見抜いていたコレクターたちが現在その多大な恩恵を得ています。

1997年にパリのリベール・カストールで3500ドルで獲得された作品Peinture acrylique blanche sur tissu rayé blanc et rougeは、201938日、ロンドンのフィリップスで357500ドルで落札されました。

アジア市場に見られる同様の傾向

先ごろ香港でArt Basel Hong Kongに際して開催された栄えあるセールでは、数多くの作品に対して多大な再評価がなされ、アジア人コレクター各位に寄与しました。2019年度第一四半期に中国でもっとも著しい価格成長が記録された作品は、Fengmian Lin(1900-1991)によるWisteriaでした。27年前にニューヨークのサザビーズで15000ドルで落札された同作品は、201942日以降130万ドル以上の価値を有しています。

また、長く西洋市場で取り引きされてきた現代中国人作家の主要作品が香港に回帰しつつあり、その価格に多大な影響を及ぼすことが考慮されます。過去30年間に成長を遂げた香港市場は、まだアジア市場から出たことのないアーティスト作品も戦力としています。

たとえばYu Feian (1888-1959) による墨絵作品Parrot (1945)は、 1990年に香港で11400ドルで購入され、201942日には香港のサザビーズで、70倍増となる787000ドルで落札されました。

女流作家の人気

日本人アーティストの草間彌生は、今年度第一四半期において、予想通りのもっとも印象的な結果を残しています。今日のアート市場でもっとも人気のあるアーティストにランクインする草間は、2018年度の販売高が1億ドル (Louise BourgeoisJoan Mitchellを追い抜き)を超えています。ただし、草間は一貫してこのような成功を収めてきたわけではありません。

たとえば、2000年にとある1作品がわずか8万ドルで落札される一方で、 Net # 4 (1959)は、同年の41日に香港で800万ドル近くで落札されています。再評価の観点からみれば、2000年にサザビーズにおいて7200ドルで販売された彫刻作品Midsummer (1983)が、19年後に同じくサザビーズにおいて428000ドルで落札されています。

2019年第一四半期に最大の価格成長が観察された作品は、17世紀のフランドルのアーティストMichaelina Wautierの作品でしょう。美術史家から長く忘れ去られてきた彼女は、2018年にアントワープ美術館とルーベンスハウスで初めて開催された回顧展において「再発見」されました。

新たな注目がその作品価格に重大なインパクトをもたらし、A garland of flowers (1652)は、2019130日にニューヨークのサザビーズで471000ドルで落札されました。1993年当時、the strange bouquet with a hovering dragonfly はわずか2万ドルの落札額を記録しています。

第一四半期のオークション結果が示しているように、すぐれた経済成績はアート市場のあらゆる分野で観察されており、ハイエンドや現代芸術、あるいはアメリカ市場に限られたものではありません。

著作権 ©2019 thierry Ehrmann www.artprice.com

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Artprice は、Euronext ParisSRD long only および Euroclear によって、Eurolistに記載されています。7478 – ブルームバーグ:PRC – ロイター:ARTF

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Artprice は、美術品の価格および索引データバンクにおけるグローバルリーダーです。3000万件以上の索引と、70万人以上のアーティストをカバーした競売データを有します。Artprice Images® は、世界最大のアート市場リソースへの無制限アクセスを提供しています。ライブラリーは、西暦1700年から今日までの12600万点に上る芸術作品の画像ならびに出版物を所蔵し、それぞれにArtpriceの美術史家によるコメントが付記されています。

Artprice は、6300にのぼる競売業者からの情報で自社データバンクをたえずアップデートし、世界の主な通信社や7200近くの国際プレス出版社に向け、アート市場のトレンドを発信しています。

Artpriceは、450万人のメンバーに向けて美術品の売買における世界的リーダー市場へのアクセス権を提供します。Artpriceでは、アート市場に向けたブロックチェーンを準備しています。これは去る20193月に出版され、BPI(フランスの国立科学ラベル)の認定を受けたArtpriceによる2018年度国際アート市場の年次報告です。 https://www.artprice.com/artprice-reports/the-art-market-in-2018

Artpriceは、アート市場における中国のリーダーArtronグループをパートナーとし、緊密な提携関係を構築しています。

Artronグループについて

Artron Art Group (Artron)は、1993年にWan jieによって創立された包括的な文化産業グループで、美術的価値の継承、称揚ならびに普及に取り組んでいます。豊かなアートデータをベースとするArtron社は、アート業界ならびにアートファンに向けて、ITアプリケーション、最新のデジタル技術、イノベート技術や機器を駆使し、プロの鑑識によるサービスとクオリティ製品体験を提供しています。

すでに6万冊を超える書籍やオークションカタログを実現したArtronは、世界最大の美術書出版社であり、その年間出版量は3億万冊に上ります。アート部門に300万人を超える専門業者メンバーを擁し、世界的なリーダーとなったウェブサイトには、1日当たり平均1500万人のビジターを集めています。

Artonのウェブサイト: www.Artron.net

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Catégories :2019, Art Market, Global Lite

Artprice: All segments of the Art Market are gold mines for those who know how to anticipate and wait.

2019/04/17 Commentaires fermés

According to thierry Ehrmann, the found and CEO of Artprice.com, “Our clients, with Artprice, can follow artworks from one appearance at auction to another, which give them insight into how collectors anticipate the Art Market and benefit from its long-term general evolution.

When we take a look at the first quarter of 2019, for instance, we see that a large number of Fine Art auction lots have proved the extraordinary profitability of Art as an investment over the last thirty years. Of these the most spectacular was probably David Hockney’s Henry Geldzahler and Christopher Scott (1969), which fetched the quarter’s best result at over $49 million on 6 March 2019 at Christie’s London. In November 1992, the same 2×3 metre canvas had sold for $1 million.”

Paul Signac (1863-1935) Le Port au soleil couchant, Opus 236 (Saint-Tropez) (1892)

Paul Signac (1863-1935) Le Port au soleil couchant, Opus 236 (Saint-Tropez) (1892)

Paul Signac (1863-1935)
Le Port au soleil couchant, Opus 236 (Saint-Tropez) (1892)

The price evolution of Paul Signac’s Le Port au soleil couchant proves that the best financial returns are not reserved for Post-War and Contemporary artists.

The seascape’s three appearances at auction show a constant and extremely dynamic appreciation over nearly forty years, for a historical artist whose contribution to the History of Western Art has long been recognised:

– 12 May 1980: $490,000 (Sotheby’s New York)

– 11 May 1993: $1.8 million (Sotheby’s New York)

– 27 February 2019: $26 million (Christie’s London)

Basquiat still leading

The upside on works by Jean-Michel Basquiat has been somewhat less publicized over the first part of 2019… and yet the American prodigy generated three of the ten best gains in the first quarter. On 5 March 2019 at Sotheby’s London, his 1986 canvas Apex (painted two years before his death by drug overdose) reached $10.8 million, multiplying its value by no less than 370 times since its last auction in June 1988 when it sold for just $29,400.

A pencil drawing entitled Soothsayer (1983) proves that Basquiat’s success covers all of his production. Acquired for $32,900 in June 2002, this small work sold for $997,600 on 5 March 2019, representing an average annual return on investment of +22% over the last 17 years.

Similarly, his paper collage Untitled (1987) – sold during the same session at Sotheby’s in London – confirms a very clear trend:

– on 25 March 1993 it fetched $26,700 (Christie’s London)

– on 5 March 2019 it fetched $1,321,000 (Sotheby’s London)

We have seen this kind of price metamorphosis with lots of other artists as well. The Minimalist French artist, Daniel Buren (b. 1938) is today enjoying an extraordinary price ascension that is rewarding all the collectors who anticipated the power of his art a quarter of a century ago.

His canvas Peinture acrylique blanche sur tissu rayé blanc et rouge, purchased $3,500 in 1997 at Libert-Castor in Paris, fetched $357,500 at Phillips in London on 8 March 2019.

Likewise in Asia

Hong Kong’s recent prestige sales in the wake Art Basel Hong Kong generated a number of significant revaluations that benefit Asian collectors. The biggest rise in China during Q1 2019 came from a painting by Fengmian Lin (1900-1991) titled Wisteria. Twenty-seven years ago it sold for $15,000 at Sotheby’s in New York. Since 2 April 2019, it is now worth over $1.3 million.

The return to Hong Kong of great works by Chinese Modern artists, long traded on the Western marketplaces, can have a considerable impact on their value. But the development of the Hong Kong market over the last 30 years also benefits artists who have never left Asia.

Take for example the latest result for an ink drawing by artist Yu Feian (1888-1959) entitled Parrot (1945). Purchased in Hong Kong in 1990 for $11,400, the same drawing resold for 70 times that amount in the same city (Sotheby’s) on 2 April 2019 ($787,000).

Women in vogue

The Japanese artist Yayoi Kusama also, unsurprisingly, ranks among the most impressive price accretions in Q1. Today the most successful female artist on the global Art Market, with an auction turnover exceeding $100 million in 2018 (ahead of Louise Bourgeois and Joan Mitchell), Kusama has not always had this kind of success.

In 2000, the record auction price for one of her paintings was just $80,000, whereas her Interminable Net # 4 (1959) fetched close to $8 million on 1 April at Sotheby’s Hong Kong. In terms of revaluation, her sculpture Midsummer (1983), acquired for just $7,200 at Sotheby’s in London in 2000, resold for $428,000 at the same auctioneer 19 years later.

The prize for the most unexpected price jump in Q1 2019 must surely go to 17th century Flemish artist Michaelina Wautier. Long forgotten by art historians, Wautier was ‘rediscovered’ in 2018 with a first retrospective organized at the Museum aan de Stroom and at the Rubens House in Antwerp.

The renewed attention had a profound impact on the prices of her works and her canvas A garland of flowers (1652) reached $471,000 on 30 January 2019 at Sotheby’s in New York. In 1993, the strange bouquet with a hovering dragonfly sold for just $20,000.

As Q1’s global auction results show, the best financial performances come from all segments of the Art Market, and not just from its high-end or from Contemporary Art or from the American market…

Copyright ©2019 thierry Ehrmann – www.artprice.com

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About Artprice:

Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.

Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2019/03/2019-bio-whoswho-thierry-ehrmann.pdf).

Dicover Artprice in video: https://www.artprice.com/video

Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.

Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications.

For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2018 published last March 2019: https://www.artprice.com/artprice-reports/the-art-market-in-2018

Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.

About the Artron Group:

“Artron Art Group (Artron), a comprehensive cultural industrial group founded in 1993 by Wan jie, is committed to inheriting, enhancing and spreading art value. Based on abundant art data, Artron provides art industry and art fans with professional service and experience of quality products by integrated application of IT, advanced digital science and innovative crafts and materials.

Having produced more than 60,000 books and auction catalogues, Artron is the world’s largest art book printer with a total print volume of 300 million a year. It has more than 3 million professional members in the arts sector and an average of 15 million daily visits, making it the world’s leading art website.”

Artron’s Web: www.Artron.net

Artprice’s Contemporary Art Market Annual Report for 2018 – free access at:
https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2018

Artprice’s press releases:

http://serveur.serveur.com/Press_Release/pressreleaseen.htm

https://twitter.com/artpricedotcom

Artmarket News:

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Discover the Alchemy and the universe of Artprice http://web.artprice.com/video, which headquarters are the famous Museum of Contemporary Art, the Abode of Chaos: https://issuu.com/demeureduchaos/docs/demeureduchaos-abodeofchaos-opus-ix-1999-2013

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Artprice: The Art Market confirms Robert Combas as one of France’s major living artists

2019/04/09 Commentaires fermés

Over the past two years the value of Robert Combas’ paintings (1957) has risen 40%. His large acrylics, especially those created in the late 1980s, now regularly fetch above $100,000 at auctions.

thierry Ehrmann: “With his market looking particularly dynamic, Robert Combas is today the second most sought-after living French artist after Pierre Soulages. Although his paintings still fetch much less than those of France’s grand master of abstraction, his latest auction results suggest a rapid growth in demand and an expansion of his market as far as Asia”.

In June 2017, the Chinese auction house Ravenel set a new auction record for Combas in Taiwan when his The Sun King (1987) sold for $214,500 (including fees). A year later, on 4 April 2018, La Prise de la Bastille (c.1989) and La bagarre de Zozo (1986) were each sold for $220,000 in Paris.

Boosted by these successive auction records, the enfant terrible of the Figuration Libre movement has proved he is still the best representative of French painting on the Contemporary Art Market.

As thierry Ehrmann puts it: “Combas is a one of our giants… he already has more than 5,000 auction results to his name”.

Artprice Indicator: Value of The Sun King (1987) from 2000 to 2019

Artprice Indicator: Value of The Sun King (1987) from 2000 to 2019 © Artprice.com

Artprice Indicator: Value of The Sun King (1987) from 2000 to 2019 © Artprice.com

2018 was an excellent year for Robert Combas: 184 works were sold generating a total of $4.75 million. The market is trading more than forty years of artistic creation from his first canvases dated 1979 (the year he left art school in Saint-Etienne) to his most recent works.

However, the strongest demand focuses on works he produced from 1985 to 1995. Encouraged by rising prices, more and more collectors are selling major works they have sometimes kept for more than 20 years generating a virtuous market circle as Combas gains additional visibility.

The results speak for themselves: 8 of his top 10 auction results have been hammered since 2017.

Top 10 Best Auction Results for Robert Combas

© Artprice.com

Ranking – Work – Price – Sale (date and place)

1. La bagarre de Zozo (1986) – $220 350 – 04/04/2018, Artcurial, Paris

2. La prise de la Bastille (c. 1989) – $219 200 – 04/04/2018, Desbenoit, Paris

3. Le Roi Soleil (1987) – $212 500 – 03/06/2017, Ravenel, Taïwan

4. Il suffit de passer le pont (1992) – $212 400 – 19/03/2019, Sotheby’s Paris

5. Louis XIV (1985) – $207 700 – 28/03/2013, Cornette de Saint Cyr, Paris

6. Le chien à cinq pattes (1987) – $190 500 – 05/06/2018, Artcurial, Paris

7. La charrette des Condamnés (c. 1979) – $190 000 – 04/06/2018, Desbenoit, Paris

8. La gitane amoureuse (1988) – $184 500 – 03/12/2018, Artcurial, Paris

9. Les 4 peluches de l’Ave Maria (1987) – $176 500 – 04/04/2012, Artcurial, Paris

10. Nolon (1987) – $169 500 – 06/12/2017 – Sotheby’s, Paris

With France accounting for 87% of his lots sold, the core of Combas’ market remains French. However, his works are now selling well beyond France and Belgium, having already reached England and even Asia. The American market has so far resisted his prolific painting practice which is reminiscent of Keith Harings.

Robert Combas paintings now sell for somewhere between $15,000 and $200,000, depending on the size of the work, its subject, its provenance, etc. However, many of his works on paper are still accessible for less than $10,000, while his prints and his three-dimensional multiples usually change hands for between $1,000 and $5,000.

In the fall of 2018, the Parisian gallery Laurent Strouk presented his most recent works, created during the previous summer in Sète, a town on France’s Mediterranean coast where Combas lived as a child.

The exhibition entitled Le Théâtre de la Mer showed his latest paintings, but also his latest sculptures, as well as some pieces of furniture (chairs, lamps, rugs). Indeed, Robert Combas has never limited his creativity to any particular medium and has always given free rein to his inspiration… including T-shirts, trousers, guitars and a variety of other formats.

As his latest auction results show, Robert Combas is enjoying a new international visibility. Most of his production is still affordable, but that could soon change. His prices have shown strong long-term growth, +500% since 2000, that has accelerated over the last 24 months.

Copyright ©2019 thierry Ehrmann – www.artprice.com

Try our services (free demo):

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About Artprice:

Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.

Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2019/03/2019-bio-whoswho-thierry-ehrmann.pdf).

Dicover Artprice in video: https://www.artprice.com/video

Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.

Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications.

For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2018 published last March 2019: https://www.artprice.com/artprice-reports/the-art-market-in-2018

Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.

About the Artron Group:

“Artron Art Group (Artron), a comprehensive cultural industrial group founded in 1993 by Wan jie, is committed to inheriting, enhancing and spreading art value. Based on abundant art data, Artron provides art industry and art fans with professional service and experience of quality products by integrated application of IT, advanced digital science and innovative crafts and materials.

Having produced more than 60,000 books and auction catalogues, Artron is the world’s largest art book printer with a total print volume of 300 million a year. It has more than 3 million professional members in the arts sector and an average of 15 million daily visits, making it the world’s leading art website.”

Artron’s Web: www.Artron.net

Artprice’s Contemporary Art Market Annual Report for 2018 – free access at:
https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2018

Artprice’s press releases:

http://serveur.serveur.com/Press_Release/pressreleaseen.htm

https://twitter.com/artpricedotcom

Artmarket News:

https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom

https://www.facebook.com/artpricedotcom 4 million subscribers

http://artmarketinsight.wordpress.com/

Discover the Alchemy and the universe of Artprice http://web.artprice.com/video, which headquarters are the famous Museum of Contemporary Art, the Abode of Chaos: https://issuu.com/demeureduchaos/docs/demeureduchaos-abodeofchaos-opus-ix-1999-2013

https://vimeo.com/124643720

The Contemporary Art Museum The Abode of Chaos

https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999 3.6 million subscribers

Contact: ir@artprice.com

Beijing: in the framework of the ‘New Silk Roads’ signed with Artron, Artprice has revealed its new Chinese brand specially adapted to the Chinese Art Market.

2019/03/27 Commentaires fermés

As previously indicated in our March 18 press release (see link below), Artprice has today revealed the Chinese brand name it will use in Artron’s launch of its official spring campaign with a new baseline in Chinese.

The name is: 雅派.艺术

[ Follow the link to read the Chinese name: https://imgpublic.artprice.com/img/wp/sites/11/2019/03/artprice-chinese-brand.png ]

Decided after much discussion with art market professionals in China, this name evokes Chinese confidence in art and the “Dao of Art”… i.e. the path of wisdom to which knowledge of the Art Market leads.

The Chinese baseline 掌握全球艺术市场 says … “Master the Global Art Market”.

[ Follow the link to read the Chinese baseline:
https://imgpublic.artprice.com/img/wp/sites/11/2019/03/artprice-maitriser-le-marche-mondial.png ]

As thierry Ehrmann says, “by becoming a Chinese brand for China – taking into account the specific tastes of Chinese art lovers, collectors and professionals – Artprice is blending into the history and daily life of China’s thousand-year-old culture, thereby boosting its notoriety and its sales turnover more quickly”.

At the end of this March, this new initiative will allow Artprice to achieve optimal exposure in China’s colossal domestic market and to capture its economic potential with a ‘permeability’ that relates to China’s multi-millennial history of art. Again, as Mr Ehrmann puts it “in order to conquer China you have to immerse yourself in a culture that goes back 4,000 year, and you have to approach the country with both humility and constance.

In collaboration with Artprice, Artron has strengthened Artprices’s road-map by the creation and implementation of a payment structure in order to comply with the new Directives from the Chinese government announced in February 2019. The strategic moves prompted by these Directives have slightly postponed Artprice’s initial targets, which otherwise remain unchanged (See Press Release of 18 March 2019).

Artprice’s strategy is therefore part of the framework for trade and partnerships defined during President Xi Jinping’s visit to France and largely commented in Emmanuel Macron’s speech on 25 March 2019 marking the 55th anniversary of China’s diplomatic relations with France.

In his editorial for the 21st Global Art Market Annual Report co-published by Artprice and Artron last week, Mr Wan Jie, Chairman of Artron Group, Artprice’s Chinese Institutional partner, stated: “This growth (of the art market) over time, like that of Artron’s partnership with Artprice, will continue to accelerate as we integrate our resources, optimize our data, upgrade our Internet technology and diversify our business cooperation models. The result will be a New Silk Road connecting the different art worlds and the markets of the East and the West.”

We are therefore talking about a ‘New Silk Road for the Art Market’ in the framework of China’s “One Belt, One Road”(OBOR) or « Belt and Road Initiative » (BRI) as presented by President Xi Jinping this week in France.

Artprice is now accredited by the Chinese authorities as a major player alongside Artron in the project to construct an Art Market SiIk Road, thereby confirming at the highest level the agreements reached during the official visit of Artprice’s management to Beijing in November 2018.

The Belt and Road Initiative covers approximately 65 countries in Asia and Europe, for a total estimated cost of 55% of global GDP. It involves 70% of the global population – 4.4 billion people – and 75% of the world’s energy reserves, with the total estimated investment period spanning 30 to 35 years for all the projects to be completed.

The estimated value of the initial projects is around 900 billion dollars and China is apparently considering making loans for the completion of future infrastructures in the different countries along the new Silk Road that could amount to 8 trillion dollars.

Moreover, as the country’s population gets richer – a phenomenon that is progressing at an astonishing pace – China’s Art Market is expected to enjoy phenomenal growth. By 2020, Asia should account for roughly 70% of the global Art Market.

According to a study published by Bain & Company on 20 March 2019, China alone consumed 33% of the world’s Luxury Goods in 2018. As the Art Market has very strong correlations with the Luxury Goods market, this figure corroborates Artprice’s and Artron’s forecasts for China’s Art Market. In fact, according to the same study, China’s consumption of Luxury Goods is already greater than that of Europe and the USA combined.

To build stronger institutional relations with China, Artprice has become a member of the New Franco-Chinese Institute of Lyons because the French city is one of the historical final destinations of Silk Roads since the Renaissance.

Lyons is in fact the most visited French city by Chinese leaders.

Created at the initiative of the City of Lyons, the Lyons Chamber of Commerce and the ADERLY, the New Franco-Chinese Institute of Lyons has already brought together many institutional and private partners like Groupe SEB, Institut Mérieux, Huawei, Sanofi, EDF, Bank of China and Veolia. It defines itself, among other things, as a networking facilitator for contacts at the highest levels in France and China for over 80 years.

The Institute’s mission is the international promotion of France and of the economic attractiveness of the Lyons region by advertising the economic advantages of Lyons in China and encouraging Chinese investment in the Rhône-Alpes region.

Moreover, after launching, in 2013, the project for an “Economic corridor traversing countries crossed by the old Silk Road”, in 2014, President Xi Jinping made an official visit to the New Franco-Chinese Institute of Lyons in the framework of the 50th anniversary of diplomatic relations with France.

Indeed, the New Franco-Chinese Institute of Lyons was revived precisely in this context, and it intends – with its historical connections (since 1921) – to give new impetus to the future of relations between Lyons and China.

On 25 March 2019, the New Franco-Chinese Institute of Lyons was the subject of a long article in the Figaro. Apparently China’s President Xi Jinping is at the origin of the initiative to revive the New Franco-Chinese Institute of Lyons because a large section of China’s historical elite has been educated in Lyon since 1921. No other place in Europe can boast this kind of historical link to the Middle Kingdom.

To boost its visibility in China, Artprice will be present (for the first time ever) at Asia’s largest Contemporary Art fair… the 7th edition of Art Basel Hong Kong. Alongside Artron, the two groups will occupy a prestigious stand and will promote their exclusive Decision Support Tools. Likewise, Artprice will also be present with Artron at Art Beijing from 26 to 29 April 2019.

Lastly, Artprice’s Facebook page has just reached 4 million followers worldwide. This represents an exceptional success on the world’s leading social network, with a growing level of uptake at each publication, thereby spreading Artprice’s databanks and services to new potential clients all over the world.

On 30 June 2017, Artprice informed its AGM that it had 345,000 followers worldwide and it promised to reach 1 million by end-2018. That promise has now been largely superseded with an additional 3,655,000 followers, equivalent to a 1,061% increase in less than two years.

With its unequalled audience on social media, Artprice is now giving Artron Western exposure just as Artron, at the beginning of April, will open its numerous networks with several tens of millions of members for Artprice (with its new Chinese name) including notably WeChat, but alsoTencent, QQ, Sina Weibo, Baidu and Tieba, among others.

March 18 press release:

https://www.actusnews.com/fr/ARTPRICE/cp/2019/03/18/artprice-and-artron-are-adapting-their-2019-strategy-to-the-art-market-dimension-of-china_s-belt-and-road-initiative-bri-that

Copyright ©2019 thierry Ehrmann – www.artprice.com

Try our services (free demo):

https://www.artprice.com/artist/23640/baishi-qi

Subscribe to our services:

https://www.artprice.com/subscription

About Artprice:

Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.

Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2019/03/2019-bio-whoswho-thierry-ehrmann.pdf).

Dicover Artprice in video: https://www.artprice.com/video

Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.

Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications.

For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2018 published last March 2019: https://www.artprice.com/artprice-reports/the-art-market-in-2018

Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.

About the Artron Group:

“Artron Art Group (Artron), a comprehensive cultural industrial group founded in 1993 by Wan jie, is committed to inheriting, enhancing and spreading art value. Based on abundant art data, Artron provides art industry and art fans with professional service and experience of quality products by integrated application of IT, advanced digital science and innovative crafts and materials.

Having produced more than 60,000 books and auction catalogues, Artron is the world’s largest art book printer with a total print volume of 300 million a year. It has more than 3 million professional members in the arts sector and an average of 15 million daily visits, making it the world’s leading art website.”

Artron’s Web: www.Artron.net

Artprice’s Contemporary Art Market Annual Report for 2018 – free access at:
https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2018

Artprice’s press releases:

http://serveur.serveur.com/Press_Release/pressreleaseen.htm

https://twitter.com/artpricedotcom

Artmarket News:

https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom

https://www.facebook.com/artpricedotcom 4 million subscribers

http://artmarketinsight.wordpress.com/

Discover the Alchemy and the universe of Artprice http://web.artprice.com/video, which headquarters are the famous Museum of Contemporary Art, the Abode of Chaos: https://issuu.com/demeureduchaos/docs/demeureduchaos-abodeofchaos-opus-ix-1999-2013

https://vimeo.com/124643720

The Contemporary Art Museum The Abode of Chaos

https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999 3.6 million subscribers

Contact: ir@artprice.com

Artprice: Top 50 artworks sold at auction in 2018

2019/03/27 Commentaires fermés

Artprice and its CEO thierry Ehrmann are proud to present the 50 greatest artworks sold at auction last year. In the first half, Modern Art returned to ‘auction leader’ position with two results above the $100 million threshold.

The Art Market’s principal motivation has always been to seek the exceptional and the rare. The quest for strong sensations is an inherent characteristic of its history and its market: by acquiring an artwork, the collector also acquires an extraordinary history.

Collectors are naturally on the lookout for the right work by the right artist at the right time and at the right price, but they are also looking for a story that they relates to. In spite of these ‘search criteria’, the Art Market posts a global average 30% to 35% unsold rate, a key indicator of the Market’s health.

The inescapable processes of selection – indispensable to the Market’s refinement – are at the heart of the Museum Industry, the growth of which represents a genuine revolution in Art History.

Museums have in effect become the Temples of our 21st century: the number of visitors has multiplied by at least ten over the last 20 years. This represents an outstanding growth rate and it has been accompanied by the development of an entertainment market offering all manner of interactivity, derivatives, virtual visits, etc.

In sum, with the museums, the galleries and the auction houses, art has become a vast domain for leisure, discovery, education and curiosity.

[https://imgpublic.artprice.com/img/wp/sites/11/2019/03/van-gogh-vue-de-l-asile.jpeg]

Vincent VAN GOGH
Vue de l’asile et de la Chapelle St-Paul de Mausole (1889)

Rank Artist Artwork Price ($)
1 Amedeo MODIGLIANI (1884-1920) Nu couché (sur le côté gauche) (1917) 157,159,000
2 Pablo PICASSO (1881-1973) Fillette la corbeille fleurie (1905) 115,000,000
3 Edward HOPPER (1882-1967) Chop Suey (1929) 91,875,000
4 David HOCKNEY (b. 1937) Portrait of an Artist (Pool with Two Figures) (1972) 90,312,500
5 Kasimir MALEVICH (1878-1935) Suprematist Composition (1916) 85,812,500
6 Claude MONET (1840-1926) Nymphéas en fleur (c.1914-1917) 84,687,500
7 Henri MATISSE (1869-1954) Odalisque couchée aux magnolias (1923) 80,750,000
8 Constantin BRANCUSI (1876-1957) La jeune fille sophistiquée (1928) 71,000,000
9 Willem DE KOONING (1904-1997) Woman as Landscape (1954-1955) 68,937,500
10 Pablo PICASSO (1881-1973) Femme au béret et à la robe quadrillée (1937) 68,702,214
11 ZAO Wou-Ki (1921-2013) Juin-Octobre 1985 (1985) 65,204,489
12 SU Shi (1037-1101) Wood and rock 59,206,820
13 Pablo PICASSO (1881-1973) La Dormeuse (1932) 57,829,046
14 Jackson POLLOCK (1912-1956) Composition with Red Strokes (1950) 55,437,500
15 Francis BACON (1909-1992) Study for Portrait (1977) 49,812,500
16 Jean-Michel BASQUIAT (1960-1988) Flexible (1984) 45,315,000
17 PAN Tianshou (1897-1971) View From the Peek (1963) 41,392,525
18 Vincent VAN GOGH (1853-1890) Vue de l’asile et de la Chapelle Saint-Paul de Mausole (1889) 39,687,500
19 Andy WARHOL (1928-1987) Double Elvis [Ferus Type] (1963) 37,000,000
20 Pablo PICASSO (1881-1973) Le repos (1932) 36,920,500
21 Pablo PICASSO (1881-1973) Buste de femme de profil (Femme écrivant) (1932) 35,974,916
22 Mark ROTHKO (1903-1970) Untitled (Rust, Blacks on Plum) (1962) 35,712,500
23 Paul GAUGUIN (1848-1903) La Vague (1888) 35,187,500
24 Jackson POLLOCK (1912-1956) Number 32, 1949 (1949) 34,098,000
25 Georges Pierre SEURAT (1859-1891) La rade de Grandcamp (Le port de Grandcamp) (1885) 34,062,500
26 Claude MONET (1840-1926) La Gare Saint-Lazare, vue extérieure (1877) 32,960,961
27 Claude MONET (1840-1926) Extérieur de la gare Saint-Lazare, effet de soleil (1877) 32,937,500
28 Gerhard RICHTER (b. 1932) Abstraktes Bild (1987) 32,000,000
29 Juan GRIS (1887-1927) La table de musicien (1914) 31,812,500
30 Claude MONET (1840-1926) Le bassin aux nymphéas (1917-1919) 31,812,500
31 Andy WARHOL (1928-1987) Six Self Portraits (1986) 31,414,491
32 Jean-Michel BASQUIAT (1960-1988) Flesh And Spirit (1982/83) 30,711,000
33 Mark ROTHKO (1903-1970) No. 7 (Dark Over Light) (1954) 30,687,500
34 Lucian FREUD (1922-2011) Portrait on a White Cover (2002/03) 29,732,780
35 Pablo PICASSO (1881-1973) La Lampe (1931) 29,562,500
36 David HOCKNEY (b. 1937) Pacific Coast Highway and Santa Monica (1990) 28,453,000
37 Andy WARHOL (1928-1987) Most Wanted Men No. 11, John Joseph H., Jr (1964) 28,437,500
38 Ren MAGRITTE (1898-1967) Le principe du plaisir (1937) 26,830,500
39 Francis BACON (1909-1992) Figure in Movement (1972) 25,918,362
40 Jean-Michel BASQUIAT (1960-1988) Untitled (Pollo Frito) (1982) 25,701,500
41 Pablo PICASSO (1881-1973) Femme dans un fauteuil (Dora Maar) (1942) 25,539,921
42 Egon SCHIELE (1890-1918) Dämmernde stadt (Die kleine stadt ii) (1913) 24,572,500
43 Wassily KANDINSKY (1866-1944) Improvisation auf mahagoni (1910) 24,233,800
44 Richard DIEBENKORN (1922-1993) Ocean Park #126 (1984) 23,937,500
45 ZAO Wou-Ki (1921-2013) Et la terre était sans forme (1956-1957) 23,305,301
46 Wassily KANDINSKY (1866-1944) Zum thema jngstes gericht (1913) 22,879,000
47 Jeff KOONS (b. 1955) Play-Doh (1994-2014) 22,812,500
48 Pablo PICASSO (1881-1973) Le matador (1970) 22,780,091
49 Joan MIRO (1893-1983) Femme dans la nuit (1945) 22,590,000
50 Richard DIEBENKORN (1922-1993) Ocean Park #137 (1985) 22,587,500

Copyright ©2019 thierry Ehrmann – www.artprice.com

Try our services (free demo):

https://www.artprice.com/artist/23640/baishi-qi

Subscribe to our services:

https://www.artprice.com/subscription

About Artprice:

Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.

Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2019/03/2019-bio-whoswho-thierry-ehrmann.pdf).

Dicover Artprice in video: https://www.artprice.com/video

Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.

Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications.

For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2018 published last March 2019: https://www.artprice.com/artprice-reports/the-art-market-in-2018

Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.

About the Artron Group:

“Artron Art Group (Artron), a comprehensive cultural industrial group founded in 1993 by Wan jie, is committed to inheriting, enhancing and spreading art value. Based on abundant art data, Artron provides art industry and art fans with professional service and experience of quality products by integrated application of IT, advanced digital science and innovative crafts and materials.

Having produced more than 60,000 books and auction catalogues, Artron is the world’s largest art book printer with a total print volume of 300 million a year. It has more than 3 million professional members in the arts sector and an average of 15 million daily visits, making it the world’s leading art website.”

Artron’s Web: www.Artron.net

Artprice’s Contemporary Art Market Annual Report for 2018 – free access at:
https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2018

Artprice’s press releases:

http://serveur.serveur.com/Press_Release/pressreleaseen.htm

https://twitter.com/artpricedotcom

Artmarket News:

https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom

https://www.facebook.com/artpricedotcom 3.9 million subscribers

http://artmarketinsight.wordpress.com/

Discover the Alchemy and the universe of Artprice http://web.artprice.com/video, which headquarters are the famous Museum of Contemporary Art, the Abode of Chaos: https://issuu.com/demeureduchaos/docs/demeureduchaos-abodeofchaos-opus-ix-1999-2013

https://vimeo.com/124643720

The Contemporary Art Museum The Abode of Chaos

https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999 3.6 million subscribers

Contact: ir@artprice.com

Artprice : Top 50 des oeuvres d’art vendues aux enchères en 2018

2019/03/26 Commentaires fermés

Artprice : Top 50 des œuvres d’art vendues aux enchères en 2018

Artprice et son Président thierry Ehrmann sont heureux de présenter les 50 meilleures oeuvres d’art vendues aux enchères l’an dernier. L’Art Moderne reprend la tête des ventes aux enchères avec deux résultats supérieurs à 100m$ au premier semestre.

Le propre du Marché de l’Art a toujours été de rechercher l’exceptionnel et l’exception. La recherche de sensations fortes est une caractéristique inhérente à son histoire et à son marché : en achetant une œuvre, un collectionneur achète aussi une histoire extraordinaire.

Le collectionneur doit être à l’affût de la bonne œuvre, du bon artiste, au bon moment et au bon prix, mais aussi avec la belle histoire. En additionnant tous les « bons », le Marché affiche un taux d’invendus de 30% à 35%, un indicateur crucial de la santé du Marché.

Ce tri systématique, indispensable pour purifier le Marché, est au cœur de l’Industrie Muséale, véritable révolution actuelle.

La place du Musée est en effet devenue primordiale au XXIème siècle : le nombre de visiteurs enregistrés dans les expositions a largement pris un zéro depuis 20 ans. Une croissance exceptionnelle, avec laquelle se développe une véritable économie de l’entertainment : produits dérivés, visites virtuelles, etc.

L’Art grâce aux musées, aux galeries et aux maisons de ventes concentre loisir, découverte, instruction et curiosité.

[https://imgpublic.artprice.com/img/wp/sites/11/2019/03/van-gogh-vue-de-l-asile.jpeg]
Vincent VAN GOGH
Vue de l’asile et de la Chapelle St-Paul de Mausole (1889)

.

Position Artiste Œuvre Prix ($)
1 Amedeo MODIGLIANI (1884-1920) Nu couché (sur le côté gauche) (1917) 157.159.000
2 Pablo PICASSO (1881-1973) Fillette la corbeille fleurie (1905) 115.000.000
3 Edward HOPPER (1882-1967) Chop Suey (1929) 91.875.000
4 David HOCKNEY (1937) Portrait of an Artist (Pool with Two Figures) (1972) 90.312.500
5 Kasimir MALEVICH (1878-1935) Suprematist Composition (1916) 85.812.500
6 Claude MONET (1840-1926) Nymphéas en fleur (c.1914-1917) 84.687.500
7 Henri MATISSE (1869-1954) Odalisque couchée aux magnolias (1923) 80.750.000
8 Constantin BRANCUSI (1876-1957) La jeune fille sophistiquée (Portrait de Nancy Cunard) (1928) 71.000.000
9 Willem DE KOONING (1904-1997) Woman as Landscape (1954-1955) 68.937.500
10 Pablo PICASSO (1881-1973) Femme au béret et à la robe quadrillée (1937) 68.702.214
11 ZAO Wou-Ki (1921-2013) Juin-Octobre 1985 (1985) 65.204.489
12 SU Shi (1037-1101) Wood and rock 59.206.820
13 Pablo PICASSO (1881-1973) La Dormeuse (1932) 57.829.046
14 Jackson POLLOCK (1912-1956) Composition with Red Strokes (1950) 55.437.500
15 Francis BACON (1909-1992) Study for Portrait (1977) 49.812.500
16 Jean-Michel BASQUIAT (1960-1988) Flexible (1984) 45.315.000
17 PAN Tianshou (1897-1971) View From the Peek (1963) 41.392.525
18 Vincent VAN GOGH (1853-1890) Vue de l’asile et de la Chapelle Saint-Paul de Mausole (1889) 39.687.500
19 Andy WARHOL (1928-1987) Double Elvis [Ferus Type] (1963) 37.000.000
20 Pablo PICASSO (1881-1973) Le repos (1932) 36.920.500
21 Pablo PICASSO (1881-1973) Buste de femme de profil (Femme écrivant) (1932) 35.974.916
22 Mark ROTHKO (1903-1970) Untitled (Rust, Blacks on Plum) (1962) 35.712.500
23 Paul GAUGUIN (1848-1903) La Vague (1888) 35.187.500
24 Jackson POLLOCK (1912-1956) Number 32, 1949 (1949) 34.098.000
25 Georges Pierre SEURAT (1859-1891) La rade de Grandcamp (Le port de Grandcamp) (1885) 34.062.500
26 Claude MONET (1840-1926) La Gare Saint-Lazare, vue extérieure (1877) 32.960.961
27 Claude MONET (1840-1926) Extérieur de la gare Saint-Lazare, effet de soleil (1877) 32.937.500
28 Gerhard RICHTER (1932) Abstraktes Bild (1987) 32.000.000
29 Juan GRIS (1887-1927) La table de musicien (1914) 31.812.500
30 Claude MONET (1840-1926) Le bassin aux nymphéas (1917-1919) 31.812.500
31 Andy WARHOL (1928-1987) Six Self Portraits (1986) 31.414.491
32 Jean-Michel BASQUIAT (1960-1988) Flesh And Spirit (1982/83) 30.711.000
33 Mark ROTHKO (1903-1970) No. 7 (Dark Over Light) (1954) 30.687.500
34 Lucian FREUD (1922-2011) Portrait on a White Cover (2002/03) 29.732.780
35 Pablo PICASSO (1881-1973) La Lampe (1931) 29.562.500
36 David HOCKNEY (1937) Pacific Coast Highway and Santa Monica (1990) 28.453.000
37 Andy WARHOL (1928-1987) Most Wanted Men No. 11, John Joseph H., Jr (1964) 28.437.500
38 Ren MAGRITTE (1898-1967) Le principe du plaisir (1937) 26.830.500
39 Francis BACON (1909-1992) Figure in Movement (1972) 25.918.362
40 Jean-Michel BASQUIAT (1960-1988) Untitled (Pollo Frito) (1982) 25.701.500
41 Pablo PICASSO (1881-1973) Femme dans un fauteuil (Dora Maar) (1942) 25.539.921
42 Egon SCHIELE (1890-1918) Dämmernde stadt (Die kleine stadt ii) (1913) 24.572.500
43 Wassily KANDINSKY (1866-1944) Improvisation auf mahagoni (1910) 24.233.800
44 Richard DIEBENKORN (1922-1993) Ocean Park #126 (1984) 23.937.500
45 ZAO Wou-Ki (1921-2013) Et la terre était sans forme (1956-1957) 23.305.301
46 Wassily KANDINSKY (1866-1944) Zum thema jngstes gericht (1913) 22.879.000
47 Jeff KOONS (1955) Play-Doh (1994-2014) 22.812.500
48 Pablo PICASSO (1881-1973) Le matador (1970) 22.780.091
49 Joan MIRO (1893-1983) Femme dans la nuit (1945) 22.590.000
50 Richard DIEBENKORN (1922-1993) Ocean Park #137 (1985) 22.587.500

Copyright 1987-2019 thierry Ehrmann www.artprice.com

En savoir plus sur nos services avec l’artiste gratuit :

https://fr.artprice.com/artiste/23640/baishi-qi

Nos services :

https://fr.artprice.com/subscription

Au sujet d’Artron :

Artprice couvre le monde entier et notamment la Chine avec son fidèle partenaire institutionnel Artron Art Group (Artron) fondé en 1993 et présidé par son Fondateur Mr Wan Jie qui est le plus grand imprimeur de livres d’art au monde, avec plus de 60 000 livres et catalogues de ventes aux enchères et un volume de publications total de 300 millions par an.

Artron.Net est la marque la plus respectée du monde de l’art chinois. Artron.Net compte plus de 3 millions de membres professionnels dans le secteur des arts et 15 millions de visites quotidiennes en moyenne, ce qui en fait le premier site Web d’art mondial.

A propos d’Artprice :

Artprice est cotée sur Eurolist by Euronext Paris, SRD long only et Euroclear : 7478 – Bloomberg : PRC – Reuters : ARTF.

Découvrir Artprice en vidéo : https://fr.artprice.com/video

Artprice fut fondée en 1997 par thierry Ehrmann qui est son PDG. Artprice est auto-contrôlée par le Groupe Serveur créé en 1987. Voir biographie certifiée de Who’s who © :
https://imgpublic.artprice.com/img/wp/sites/11/2019/03/2019-bio-whoswho-thierry-ehrmann.pdf

Artprice est le Leader mondial des banques de données sur la cotation et les indices de l’Art avec plus de 30 millions d’indices et résultats de ventes couvrant plus de 700 000 Artistes. Artprice Images® permet un accès illimité au plus grand fonds du Marché de l’Art au monde, bibliothèque constituée de 126 millions d’images ou gravures d’oeuvres d’Art de 1700 à nos jours commentées par ses historiens.

Artprice enrichit en permanence ses banques de données en provenance de 6300 Maisons de Ventes et publie en continu les tendances du Marché de l’Art pour les principales agences et 7200 titres de presse dans le monde. Artprice met à la disposition de ses 4,5 millions de membres (members log in), les annonces déposées par ses Membres, qui constituent désormais la première Place de Marché Normalisée® mondiale pour acheter et vendre des oeuvres d’Art à prix fixe ou aux enchères (enchères réglementées par les alinéas 2 et 3 de l’article L 321.3 du Code du Commerce).

Artprice, labellisée par le BPI pour la deuxième fois en novembre 2018, développe son projet de Blockchain sur le Marché de l’Art.

Le Rapport Annuel Artprice du Marché de l’Art mondial 2018 publié en mars 2019 : https://fr.artprice.com/artprice-reports/le-marche-de-lart-en-2018

Le Rapport du Marché de l’Art Contemporain 2018 d’Artprice :
https://fr.artprice.com/artprice-reports/le-marche-de-lart-contemporain-2018

Sommaire des communiqués d’Artprice :

http://serveur.serveur.com/press_release/pressreleasefr.htm

https://twitter.com/artpricedotcom

Suivre en temps réel toute l’actualité du Marché de l’Art avec Artprice sur Facebook et Twitter :

https://www.facebook.com/artpricedotcom 3,9 millions d’abonnés

https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom

http://artmarketinsight.wordpress.com/

Découvrir l’alchimie et l’univers d’Artprice http://web.artprice.com/video dont le siège social est le célèbre Musée d’art contemporain Abode of Chaos dixit The New York Times / La Demeure du Chaos: https://issuu.com/demeureduchaos/docs/demeureduchaos-abodeofchaos-opus-ix-1999-2013

https://vimeo.com/124643720

Musée d’Art Contemporain siège social d’Artprice :

https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999

(3,6 millions d’abonnés)

Contact ir@artprice.com

Artprice and Artron are adapting their 2019 strategy to the Art Market dimension of China’s Belt and Road Initiative (BRI) that will be presented by President Xi Jinping this week in France.

2019/03/21 Commentaires fermés

As part of China’s Presidential visit to Europe this week, Mr Xi Jinping will be in France to promote China’s New Sild Road over-arching development strategy known officially as “One Belt, One Road” (OBOR) or the “Belt and Road Initiative” (the BRI).

The Belt and Road Initiative covers approximately 65 countries in Asia and Europe, for a total estimated cost of 55% of global GDP. It involves 70% of the global population – 4.4 billion people – and 75% of the world’s energy reserves, with the total estimated investment period spanning 30 to 35 years for all the projects to be completed.

Belt and Road Initiative (BRI) Artprice - Artron - Art Market

Belt and Road Initiative (BRI) Artprice – Artron – Art Market

The estimated cost of the first projects stands around 900 billion dollars, for which China is said to consider loans that could amount to 8 trillion dollars, for the future infrastructures in the different countries along the new Silk Road.

In his editorial for the 21th Global Art Market Annual Report co-published by Artprice and Artron last week, Mr Wan Jie, Chairman of Artron Group, Artprice’s Chinese Institutional partner, stated: “This growth (of the art market) over time, like that of Artron’s partnership with Artprice, will continue to accelerate as we integrate our resources, optimize our data, upgrade our Internet technology and diversify our business cooperation models. The result will be a New Silk Road connecting the different art worlds and the markets of the East and the West.”

In his speech during celebrations marking China’s 40 years of reform and economic opening, President Xi Jinping, announced new measures to strengthen China’s domestic market, measures that Artprice and Artron have immediately incorporated.

In order to best meet the requirements of China’s huge domestic market and take full advantage of its economic potential, Artprice has agreed with Artron to further deepen its role in China via the creation and implementation, by the Artron group, of a payment platform as well as various Chinese infrastructures in order to adapt to the new measures announced in February 2019.

In this context, Artprice, with Artron, will launch its official campaign with a new Chinese brand name and a new baseline in Chinese that will be communicated to the market before the end of March. This originally unplanned initiative – in compliance with the 2019 Chinese measures announced last month and effectively leading to a ‘new strategy’ – has slightly postponed Artprice’s initial targets, which otherwise remain unchanged.

thierry Ehrmann: By becoming a Chinese brand for China – taking into account the specific tastes of Chinese art lovers, collectors and professionals – Artprice is blending into the history and daily life of China’s thousand-year-old culture, thereby boosting its notoriety and its sales turnover more quickly”.

More than ever, one of Artprice’s primary objectives is to meet the needs of China’s administration and its 34 provinces. This notably includes the requirements of China’s customs services in setting up an operational tax base for artworks (where applicable).

Besides these initiatives concerning China’s domestic market, Artprice has become a member of the New Franco-Chinese Institute of Lyons (launched in 1921). Created at the initiative of the City of Lyons, the Lyons Chamber of Commerce and the ADERLY, the New Franco-Chinese Institute of Lyons has already brought together many institutional and private partners like Groupe SEB, EDF and the Bank Of China and it defines itself, among other things, as a networking facilitator for contacts at the highest levels in France and China.

The mission of this Institute is the international promotion of France and the economic attractiveness of the Lyons region by promoting the economic advantages of Lyons in China and encouraging Chinese investment in the Rhône-Alpes region.

It is perfectly logical that Artprice should join the New Franco-Chinese Institute of Lyons because Lyons is historically one of the historical final destinations of Silk Roads since the Renaissance. Lyons is also the most visited French city by Chinese leaders.

Moreover, after launching the project for an “Economic corridor traversing countries crossed by the old Silk Road” in 2013, President Xi Jinping made an official visit to Lyons in 2014. Indeed, the New Franco-Chinese Institute of Lyons is born precisely in this context and it intends – with its historical connections (since 1921) – to give new impetus to the future of relations between Lyons and China, an impetus that Artprice fully endorses.

Copyright ©2019 thierry Ehrmann – www.artprice.com

Try our services (free demo):

https://www.artprice.com/artist/23640/baishi-qi

Subscribe to our services:

https://www.artprice.com/subscription

About Artprice:

Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.

Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2019/03/2019-bio-whoswho-thierry-ehrmann.pdf).

Dicover Artprice in video: https://www.artprice.com/video

Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.

Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications.

For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2018 published last March 2019: https://www.artprice.com/artprice-reports/the-art-market-in-2018

Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.

About the Artron Group:

“Artron Art Group (Artron), a comprehensive cultural industrial group founded in 1993 by Wan jie, is committed to inheriting, enhancing and spreading art value. Based on abundant art data, Artron provides art industry and art fans with professional service and experience of quality products by integrated application of IT, advanced digital science and innovative crafts and materials.

Having produced more than 60,000 books and auction catalogues, Artron is the world’s largest art book printer with a total print volume of 300 million a year. It has more than 3 million professional members in the arts sector and an average of 15 million daily visits, making it the world’s leading art website.”

Artron’s Web: www.Artron.net

Artprice’s Contemporary Art Market Annual Report for 2017 – free access at:

Artprice’s press releases:

http://serveur.serveur.com/Press_Release/pressreleaseen.htm

https://twitter.com/artpricedotcom

Artmarket News:

https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom

https://www.facebook.com/artpricedotcom 3.8 million subscribers

http://artmarketinsight.wordpress.com/

Discover the Alchemy and the universe of Artprice http://web.artprice.com/video, which headquarters are the famous Museum of Contemporary Art, the Abode of Chaos: https://issuu.com/demeureduchaos/docs/demeureduchaos-abodeofchaos-opus-ix-1999-2013

https://vimeo.com/124643720

The Contemporary Art Museum The Abode of Chaos

https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999

3.6 million subscribers

Contact: ir@artprice.com

 

Artprice et Artron adaptent leur stratégie 2019 pour la Nouvelle Route de la Soie du Marché de l’Art dans le cadre des Nouvelles Routes de la Soie « One Belt, One Road » présentées par le Président Xi Jinping cette semaine en France.

2019/03/18 Commentaires fermés

Le Président Chinois Xi Jinping sera cette semaine en Europe et notamment en France pour défendre les Nouvelles Routes de la Soie « One Belt, One Road » (OBOR) ou « Belt and Road Initiative » (BRI).

En effet, l’initiative de « la ceinture et de la route » englobe près de 65 pays asiatiques et européens, représentant près de 55 % du PIB mondial, 70 % de la population mondiale – 4,4 milliards d’habitants –, 75 % des réserves énergétiques mondiales, pour une durée d’investissement pour l’ensemble des projets d’environ trente à trente-cinq ans. Le coût estimé des premiers projets est de l’ordre de 900 milliards de dollars et on évoque des prêts, de la part de la Chine, pouvant atteindre 8 trillions de dollars pour les infrastructures à venir dans les différents pays traversés.

Belt and Road Initiative (BRI) Artprice - Artron - Art Market

Belt and Road Initiative (BRI) Artprice – Artron – Art Market

Wan Jie, Président du Groupe Artron et partenaire d’Artprice, dans son édito concernant le 21ème Rapport mondial du Marché de l’Art co-édité par les deux groupes la semaine dernière, écrit: « Cette progression au fil du temps, tout comme le partenariat entre Artron et Artprice, ne cessera de se surpasser grâce à l’intégration des ressources, à l’optimisation des données, à la mise à niveau de la technologie Internet et à la diversification des modèles de coopération commerciale. Le résultat final ? Une Nouvelle Route de la Soie reliant les Mondes de l’Art et les marchés de l’Est et de l’Ouest. »

Le Président Xi Jinping, lors du discours pour la célébration des 40 ans de réforme et d’ouverture de la Chine, a annoncé de nouvelles directives notamment pour le renforcement du marché intérieur chinois qu’Artprice et Artron ont immédiatement intégrées.

Artprice, pour épouser de manière optimale l’énorme marché intérieur chinois et en saisir le potentiel économique, adapte avec Artron le renforcement de sa feuille de route avec la création et mise en production par le groupe Artron d’une plateforme de paiement et infrastructures sino-chinoises pour répondre aux nouvelles directives de février 2019.

Dans ce cadre, Artprice va démarrer avec Artron sa campagne officielle avec un nouveau nom et marque chinois avec une nouvelle baseline en chinois qui seront communiqués au marché avant la fin du mois de mars. Cette mise en conformité imprévue des directives chinoises 2019 amenant à cette nouvelle stratégie décale quelque peu les objectifs d’Artprice qui restent inchangés.

thierry Ehrmann : « Artprice, en devenant pour la Chine une marque chinoise, prenant en compte la sensibilité spécifique des amateurs, collectionneurs et professionnels de l’Art chinois, Artprice s’intègre dans l’Histoire et le quotidien de la culture chinoise millénaire, pour ainsi accroître plus rapidement sa notoriété et son chiffre d’affaires ».

Plus que jamais l’un des principaux objectifs d’Artprice est en effet de répondre aux besoins de l’administration chinoise des 34 provinces ainsi que ceux des douanes pour délivrer l’assiette fiscale des œuvres d’art sur lesquelles les taux s’appliquent.

Par ailleurs, Artprice devient membre du Nouvel Institut Franco-Chinois de Lyon lancé en 1921. Créé à l’initiative de la Métropole de Lyon, de la Chambre de Commerce de Lyon et de l’ADERLY, Le Nouvel Institut Franco-Chinois de Lyon a déjà rassemblé de nombreux partenaires institutionnels et privés, comme le Groupe SEB, EDF, Bank Of China… et se définit, entre autres, comme la mise en réseau facilitant les contacts aux plus hauts niveaux tant en France qu’en Chine.

La mission de cet Institut est d’assurer la promotion internationale du territoire et de l’attractivité économique de la région lyonnaise en valorisant le tissu économique lyonnais en Chine et à l’accueil des investissements chinois en région Rhône-Alpes.

C’est fort logiquement qu’Artprice devient membre du Nouvel Institut Franco-Chinois de Lyon car Lyon est historiquement l’un des points d’aboutissement historique des Routes de la Soie depuis la Renaissance. Lyon est d’ailleurs la ville française la plus visitée par les dirigeants chinois.

D’autre part, il faut se souvenir de la visite officielle à Lyon du Président Xi Jinping en 2014 après avoir lancé en 2013 le projet d’un « Couloir économique des pays traversés par l’ancienne Route de la Soie ». C’est dans ce contexte que naît le Nouvel Institut Franco-Chinois de Lyon qui entend, fort d’un passé exceptionnel (1921), donner une impulsion nouvelle à l’avenir des relations entre Lyon et la Chine, dans lequel Artprice s’inscrit naturellement.

Copyright 1987-2019 thierry Ehrmann www.artprice.com

En savoir plus sur nos services avec l’artiste gratuit :

https://fr.artprice.com/artiste/23640/baishi-qi

Nos services :

https://fr.artprice.com/subscription

Au sujet d’Artron :

Artprice couvre le monde entier et notamment la Chine avec son fidèle partenaire institutionnel Artron Art Group (Artron) fondé en 1993 et présidé par son Fondateur Mr Wan Jie qui est le plus grand imprimeur de livres d’art au monde, avec plus de 60 000 livres et catalogues de ventes aux enchères et un volume de publications total de 300 millions par an.

Artron.Net est la marque la plus respectée du monde de l’art chinois. Artron.Net compte plus de 3 millions de membres professionnels dans le secteur des arts et 15 millions de visites quotidiennes en moyenne, ce qui en fait le premier site Web d’art mondial.

A propos d’Artprice :

Artprice est cotée sur Eurolist by Euronext Paris, SRD long only et Euroclear : 7478 – Bloomberg : PRC – Reuters : ARTF.

Découvrir Artprice en vidéo : https://fr.artprice.com/video

Artprice fut fondée en 1997 par thierry Ehrmann qui est son PDG. Artprice est auto-contrôlée par le Groupe Serveur créé en 1987. Voir biographie certifiée de Who’s who © :
https://imgpublic.artprice.com/img/wp/sites/11/2019/03/2019-bio-whoswho-thierry-ehrmann.pdf

Artprice est le Leader mondial des banques de données sur la cotation et les indices de l’Art avec plus de 30 millions d’indices et résultats de ventes couvrant plus de 700 000 Artistes. Artprice Images® permet un accès illimité au plus grand fonds du Marché de l’Art au monde, bibliothèque constituée de 126 millions d’images ou gravures d’oeuvres d’Art de 1700 à nos jours commentées par ses historiens.

Artprice enrichit en permanence ses banques de données en provenance de 6300 Maisons de Ventes et publie en continu les tendances du Marché de l’Art pour les principales agences et 7200 titres de presse dans le monde. Artprice met à la disposition de ses 4,5 millions de membres (members log in), les annonces déposées par ses Membres, qui constituent désormais la première Place de Marché Normalisée® mondiale pour acheter et vendre des oeuvres d’Art à prix fixe ou aux enchères (enchères réglementées par les alinéas 2 et 3 de l’article L 321.3 du Code du Commerce).

Artprice, labellisée par le BPI pour la deuxième fois en novembre 2018, développe son projet de Blockchain sur le Marché de l’Art.

Le Rapport Annuel Artprice du Marché de l’Art mondial 2018 publié en mars 2019 : https://fr.artprice.com/artprice-reports/le-marche-de-lart-en-2018

Le Rapport du Marché de l’Art Contemporain 2018 d’Artprice :
https://fr.artprice.com/artprice-reports/le-marche-de-lart-contemporain-2018

Sommaire des communiqués d’Artprice :

http://serveur.serveur.com/press_release/pressreleasefr.htm

https://twitter.com/artpricedotcom

Suivre en temps réel toute l’actualité du Marché de l’Art avec Artprice sur Facebook et Twitter :

https://www.facebook.com/artpricedotcom 3,8 millions d’abonnés

https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom

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Découvrir l’alchimie et l’univers d’Artprice http://web.artprice.com/video dont le siège social est le célèbre Musée d’art contemporain Abode of Chaos dixit The New York Times / La Demeure du Chaos: https://issuu.com/demeureduchaos/docs/demeureduchaos-abodeofchaos-opus-ix-1999-2013

https://vimeo.com/124643720

Musée d’Art Contemporain siège social d’Artprice :

https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999

(3,5 millions d’abonnés)

Contact ir@artprice.com

Artprice’s 2018 Annual Art Market Report: record number of global Fine Art auction transactions since 1945 and greater buyer selectivity…

2019/03/12 Commentaires fermés

Fruit of the alliance between Artprice, world leader in Art Market information (founded and directed by thierry Ehrmann), and Artron, its powerful Chinese institutional partner (directed by Wan Jie), our 21st Annual Art Market Report* allows a truly balanced perspective of the global market that covers both the West and the East.

thierry Ehrmann: “By pooling their resources, the two entities can analyse the global Art Market in unprecedented detail, highlighting the intense competition driving the market’s global growth and its overall impact. No other organisation is currently capable of producing such high quality macro- and micro-economic metadata generated by Big Data and AI algorithms”.

WAN Jie - Artron / thierry Ehrmann - Artprice

WAN Jie – Artron / thierry Ehrmann – Artprice

The report includes Artprice’s now famous ranking of the world’s 500 most powerful artists, the Top-100 auction results of the year, information regarding our Artprice100® index now used in trading rooms, analyses by country and by capital, analyses by creative periods and by artistic media… and a selection of Artprice market indices.

Its 18 key chapters provide an uncompromising and unprecedented analysis of today’s global Art Market. The Report can be downloaded in pdf format, free of charge, at Artprice.com.

This 21st Annual Report* on the Global Art Market is distributed exclusively worldwide by Artprice and Cision, who have together set up the world’s first press agency dedicated to Art Market news and information – Artpress agency® – an area in which Artprice is world leader.

See Cision’s press release to the NYSE https://www.prnewswire.com/news-releases/artprice-and-cision-enter-distribution-partnership-300770437.html?=prn )

For 120 years Cision (PR Newswire) has been building a global news and information dissemination platform. Today that platform is used by more than 100,000 major clients in the financial sphere and it reaches approximately 1.8 billion people. With its database of 1.6 million journalists and media across 5 continents, Cision is the world’s leading provider of software for the management of public & press relations and the identification of influencers and key media.

Read our 21st Annual Report* on the Global Art Market for free at:

https://www.artprice.com/artprice-reports/the-art-market-in-2018

*Public sales of Fine Art: painting, sculpture, drawing, photography, prints, installations. Period analysed: 1 January 2018 – 31 December 2018

The Art Market enters a new era on the back of excellent growth

General synopsis

Global Fine Art auction turnover reached $15.48 billion over the twelve months of 2018

538,000 artworks changed hands at auction in 2018: an absolute record since 1945

Global turnover was up +4%, for a third consecutive year of expansion

David Hockney became the world’s most valued living artist (with a result of $79.77 million)

Jenny Saville became the world’s most valued living female artist ($12.49 million)

The unsold rate remained stable at 36% in the West

In China, the unsold rate dropped significantly by 14 points

The Artprice100© index of blue-chip artists showed a +4.3% progression

Soft Power

The US (up +18%) and the United Kingdom (up +12%) drove Western growth

The US was again the world’s leading market with $5.8 billion (37.9% of global turnover)

China is in second place with $4.5 billion

France was 4th with 4.5% of global turnover ($694 million), down 10% vs. 2017

Christie’s remained the world’s leading Fine Art auction operator, with $5 billion, ahead of Sotheby’s with $3.9 billion

In China, Poly Auction ($654 million) outperformed China Guardian ($606 million)

Phillips ranked 4th in the global ranking of Fine Art auction operators with $653 million

Christie’s (up +13%), Sotheby’s (up +16%) and Phillips (up +39%) all posted progressions

In Europe, the German auctioneer Dorotheum posted $79 million and the French company Artcurial posted $76 million

Trends

· Modern Art dominates the high-end market with 8 of the Top-10 results

· 159 European artists ranked in the Top 500, versus 153 Asian and 93 North American

· Abstract art reached new heights with Malevich, Zao Wou-Ki, Soulages, Motherwell, etc.

· African American Art in the spotlight with Kerry James Marshall (# 67) and N.A. Crosby (# 426)

· Female artists in vogue with records for Joan Mitchell, Cecily Brown, Jenny Saville, etc.

Financial returns

· Repeat sales* generated an average annual return ranging from +6.2% to +8.2%

· Works bought from $200,000 to $1 million generate the highest annual return: + 8.2%

*The same work bought at auction and resold at auction during 2018

Artprice100© “The Wolves of Wall Street at the gates of the Art Market

The Artprice100® index shows an increase of +380% since 2000

Or an annual average return of +8.6%

Eight artists changes in our Artprice100® index between fiscal year 2017 and 2018

In 2000, only 1 Chinese artist (Zhang Daqian) qualified for inclusion in our Artprice100® index compared with 16 in 2017

An efficient, liquid and transparent Art Market, similar to a financial market.

In a world where many Western countries now post quarterly economic growth rates well below 1%, the Art Market has once again confirmed its efficiency, liquidity and transparency… just like a financial market.

In 2000, the global Art Market posted a global auction turnover of $3.2 billion. In 2018, the figure was $15.48 billion, up 380% versus 2000.

The strength of the Art Market is related to its unparalleled level of selectivity over the past twelve years, very much in line with Artprice’s dictum “Buy the right work, from the right period, with a good story, by the right artist, at the right time.

The formula is simple but exceptionally efficient and explains the Western market’s almost “perfect” unsold rate of 36%.

Let’s not forget that the unsold rate has acted as a key benchmark for 120 years, indicating whether the market is in speculative mode (unsold rate under 20%) or in free fall (above 60%). According to the famous Art Market sociologist, Raymonde Moulin, 36% is the right balance.

A spectacular increase in transactions with 538,000 works sold in 2018, an absolute record since 1945, despite the relative torpidity of the global economy.

Driven by a healthy combination of investment logic, speculative buying, passionate collecting and insatiable demand for major signatures to ‘populate’ the world’s new museums, the global Art Market posted a dynamic level of activity in 2018 with 538,000 transactions, the highest annual figure since 1945, despite the relative stagnation of the global economy.

2018’s global auction turnover total was very impressive with an overall figure of $15.48 billion.

The drivers of this growth are ease of access to Art Market information, electronic sales (98% of the market’s participants are connected to the Internet), the financialization of the market, a growing population of ever-younger art consumers (from 500,000 in the 1950’s to 120 million in 2018) and the extension of the market to the entire Asia/Pacific area plus India, South Africa, the Middle East and South America.

A global economic reality in the 21st century, the museum industry® is driving the Art Market.

The growth of the museum industry is also playing a crucial role. With more than 700 new museums opening every year, the museum industry has become a global economic reality in the 21st Century. More museums opened between 2000 and 2014 than in the previous two centuries.

This demand for museum-quality works is one of the key factors in the spectacular growth of the Art Market which is now a mature and liquid market offering returns of 8% per year on works purchased over $200,000.

In 2018, 26.2% of our Top 500 global artists are Chinese, illustrating the power of China vis-à-vis the United States which only account for 17.4% of the Top 500 artists.

Similarly, in 2018 Chinese artists accounted for 26.2% of the artists in our Top 500 ranking illustrating China’s strength vis-à-vis the United States, which account for just 17.4%. Apart from American and Chinese artists, Europeans account for 45.4% of the Top 500 artists and other nationalities account for 11%, including Africans (1.2%), Latin Americans (1.6%) and Asians from outside China (6.6%).

In view of these macro and micro-economic data, the Art Market has successfully functioned for 19 years as a safe haven against economic and financial crises, with consistent and recurring returns.

The Artprice100® index (an all-periods global index for Old Master, Modern and Contemporary Art) shows a +380% increase since 2000.

In a context where central banks, particularly the ECB, are implementing close to zero or negative interest rates, the Art Market has enjoyed insolent health with our new Artprice100® index showing a progression of +380% since 2000. These returns are not limited to big name artists.

Our analyses show that the average annual return on artworks purchased above the $20,000 threshold is around +5.5%.

Of the world’s 6,300 auction houses, 98% are today present on the Internet (versus just 3% in 2005).

The Internet (Microsoft estimates over 5.3 billion people are connected worldwide) has now become the principal and definitive forum for auction operators worldwide and they are using it to consolidate their market shares on all continents.

The Art Market is fully dematerializing with Blockchain, but also with 5G becoming reality in 2019.

The Art Market will be impacted by Blockchain, a technology that Artprice has already adopted. However, before that reality becomes generalised, 5G (latest generation of cellular mobile communications) represents a major technical revolution via its universal connectivity, and particularly via the connection of objects and machines, which Artprice and its partner Artron are experimenting in Beijing.

In fact, the 5G that is being implemented this year in the US and in Europe has existed for two years in China. The powerful alliance between Artprice and Artron has enabled beta testing of a multitude of key art market services and industrial processes that were unimaginable under 4G.

The Art Market is an efficient, historic and global market with a capacity to withstand economic and geopolitical crises that is now beyond any doubt. Over the last 18 years, it has outperformed the world’s principal investment markets by a considerable margin.

Copyright ©2019 thierry Ehrmann – www.artprice.com

Try our services (free demo):

https://www.artprice.com/artist/23640/baishi-qi

Subscribe to our services:

https://www.artprice.com/subscription

About Artprice:

Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.

Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2019/03/2019-bio-whoswho-thierry-ehrmann.pdf).

Dicover Artprice in video: https://www.artprice.com/video

Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.

Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications.

For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2018 published last March 2019: https://www.artprice.com/artprice-reports/the-art-market-in-2018

Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.

About the Artron Group:

“Artron Art Group (Artron), a comprehensive cultural industrial group founded in 1993 by Wan jie, is committed to inheriting, enhancing and spreading art value. Based on abundant art data, Artron provides art industry and art fans with professional service and experience of quality products by integrated application of IT, advanced digital science and innovative crafts and materials.

Having produced more than 60,000 books and auction catalogues, Artron is the world’s largest art book printer with a total print volume of 300 million a year. It has more than 3 million professional members in the arts sector and an average of 15 million daily visits, making it the world’s leading art website.”

Artron’s Web: www.Artron.net

Artprice’s Contemporary Art Market Annual Report for 2017 – free access at:

Artprice’s press releases:

http://serveur.serveur.com/Press_Release/pressreleaseen.htm

https://twitter.com/artpricedotcom

Artmarket News:

https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom

https://www.facebook.com/artpricedotcom 3.8 million subscribers

http://artmarketinsight.wordpress.com/

Discover the Alchemy and the universe of Artprice http://web.artprice.com/video, which headquarters are the famous Museum of Contemporary Art, the Abode of Chaos: https://issuu.com/demeureduchaos/docs/demeureduchaos-abodeofchaos-opus-ix-1999-2013

https://vimeo.com/124643720

The Contemporary Art Museum The Abode of Chaos

https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999

3.5 million subscribers

Contact: ir@artprice.com

ARTPRICE – The Museum Industry®: Exhibiting Art in the 21st Century

2019/03/05 Commentaires fermés

ARTPRICE – The Museum Industry®: Exhibiting Art in the 21st Century

With the prices of masterpieces now exceeding the purchasing budgets of the largestpublic museums, the latter are being forced to find new ways to pursue their development.Competing against corporate foundations and private collectors with much deeper pocketsand a much greater flexibility of action, State institutions have to pursue long-term projectsthat are less reactive to market trends.

Artprice’s CEO /founder thierry Ehrmann recalls: “the world saw more museums builtbetween 1 January 2000 and 31 December 2014 than during the entire 19th and 20thcenturies. Indeed, every year sees the opening of around 700 new world-class museumson five different continents, each with a minimum of 4,500 artworks.The ‘Soft Power’ ambitions of the major powers (particularly China and the United States) are an essential geopolitical driver of this Museum Industry® growth and represent a fundamental elementin Artprice’s conceptualisation of today’s Art Market”.

 

Continuing to buy…

With a basic acquisitions budget of less than $20 million a year, lots of historical pieces are

simply beyond the reach of the Louvre Museum (the world’s largest museum by visitor

numbers). Fortunately, the Louvre receives occasional one-off donations. In 2016, France

and the Netherlands agreed to jointly acquire two Rembrandt portraits from the French

Rothschild collection. Each State contributed €80 million to acquire one of these two

paintings, which will be shown alternatively at the Louvre and the Rijksmuseum, but

always together.

Rembrandt van Rijn Portrait of Oopjen Coppit, 1634 Portrait of Marten Soolmans, 1634

Rembrandt van Rijn
Portrait of Oopjen Coppit, 1634
Portrait of Marten Soolmans, 1634

Nowadays that type of solution is very exceptional indeed because in the vast majority of

cases the major museums are no match for the billionaires. However, by implementing a

variety of legal mechanisms (loans, donations, gifts) certain States have managed to enlist

their highly valuable support.

In July 2002, ​ Massacre of the Innocents ​ (c. 1610), a painting freshly re-attributed to Peter

Paul Rubens, generated the art world’s third best-ever auction result (at the time) at

Sotheby’s in London. Canadian businessman Kenneth Thomson paid $69.7 million to

acquire the work, which he then lent to the National Gallery in London before donating it to

the Art Gallery of Ontario, an acquisition that the Canadian museum could not have made

on its own.

Contemporary Art already too expensive

In 2017, the 40-year-old Japanese businessman Yusaku Maezawa paid $110.5 million at

Christie’s in New York for Jean-Michel Basquiat’s ​ Untitled ​ (1982). Two years earlier, the

same collector purchased another major canvas by the New York graffiti artist for $57

million. Both works will soon be exhibited, along with the rest of Maezawa’s collection, in

his own Contemporary Art Museum located on the outskirts of Tokyo (Chiba).

While waiting for his museum to open, the young collector lent the $110.5 million painting to the

Brooklyn Museum for the exhibition « One Basquiat » (January – March 2018). The show

received an unexpectedly high number of visitors, attributable, in part at least, to the

presence of this work, having suddenly become Jean-Michel Basquiat’s most famous

work.

In an interview with the New York Times in May 2017, Ann Temkin, chief curator of the

MoMA’s painting and sculpture section, regretted that her museum did not acquire works

by Jean-Michel Basquiat in time. Twenty years after the artist’s death, the prestigious New

York institution does not possess a single work by Basquiat and his prices are now so high

that it cannot hope to acquire one directly.

Private collectors regularly lend their works, but there can be no doubt that the MoMA is waiting for a definitive donation. Several works on paper have already been promised by the collector Sheldon H. Solow and made available to the museum.

Basquiat is the most striking example of a Contemporary artist whose prices climbed far

too quickly. But many other Contemporary artists are experiencing a similar situation.

These include Peter Doig, Richard Prince, Christopher Wool, and more recently George

Condo and Rudolf Stingel.

From private collection to museum

The major European institutions (the Louvre, the Prado, the British Museum, etc.) were

established in the late-18th and early-19th centuries around important private collections,

often royal collections in fact. For over two centuries, in response to the growing

importance of ‘culture’ in society, States tried to enrich their collections by acquiring

artworks at roughly the same pace as the development of artistic creation.

At the same time, major private collections were built up by powerful industrialists and bankers like the Rothschilds and Rockefellers. Some of these collections have found a place in major

museums like the Robert Lehman collection at the Metropolitan Museum.

As of the 21st century, private museums have multiplied in number exponentially. To a

certain extent, their success has been driven by media coverage of the Art Market. NewYork’s Neue Gallery, which opened in 2001, received international publicity with the

acquisition in 2006 of Gustav Klimt’s ​ Portrait of Adele Bloch-Bauer I ​ for $135 million, an

all-time record for Art Market (at the time).

The growth of the Art Market has intensified competition between major museums and

collectors. The latter build more personal and sometimes more coherent collections when

it comes to Contemporary art. In the United States, these collections have spawned some

of the most prestigious Art Centers in the country: The Rubell Family Collection (Miami),

The Broad Museum (Los Angeles), The Hill Art Foundation (New York).

In Europe, corporate foundations and private collections have also become part of the

cultural landscape. France, particularly, is home to lots of major private institutions like the

Maeght Foundation in Saint-Paul de Vence, the Louis Vuitton Foundation in Paris and

outlets for ‘new’ art in enchanting places such as the Carmignac Foundation on the island

of Porquerolles.

The strength of Asian collectors

Asian collectors also have all the necessary qualities to participate in this new model: an

immense appetite for Art and its History, tremendous financial capacity and, above all, the

desire to share their collections with the general public. In Japan, the Mori Art Museum,

created by the promoter Minoru Mori, has established itself as a veritable temple of

Contemporary Art.

In China, billionaire Liu Yiqian is actively working to build one of Asia’s finest collections.

His museum – the Long Museum in Shanghai – combines traditional and Contemporary

Chinese art, as well as historical Western artworks. On 9 November 2015 he acquired

Amedeo Modigliani’s ​ Reclining Nude ​ (1917-18) at Christie’s in New York for $170 million.

In fact, Liu Yiqian is so wealthy he apparently bought the painting cash… with his

American Express card.

Copyright ©2019 thierry Ehrmann – www.artprice.com

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Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.

Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2018/10/bio-2019-whos-who-thierry-ehrmann.pdf ).

Dicover Artprice in video: https://www.artprice.com/video

Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.

Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications.

For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2017 published last March 2018: https://www.artprice.com/artprice-reports/the-art-market-in-2017

Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.

About the Artron Group:

“Artron Art Group (Artron), a comprehensive cultural industrial group founded in 1993 by Wan jie, is committed to inheriting, enhancing and spreading art value. Based on abundant art data, Artron provides art industry and art fans with professional service and experience of quality products by integrated application of IT, advanced digital science and innovative crafts and materials.

Having produced more than 60,000 books and auction catalogues, Artron is the world’s largest art book printer with a total print volume of 300 million a year. It has more than 3 million professional members in the arts sector and an average of 15 million daily visits, making it the world’s leading art website.”

Artron’s Web: www.Artron.net

Artprice’s Contemporary Art Market Annual Report for 2017 – free access at: https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2017

Artprice’s press releases:

http://serveur.serveur.com/Press_Release/pressreleaseen.htm

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Artprice (from London): The « Toulouse Caravaggio” on show in London

2019/03/01 Commentaires fermés

If I could have chosen to discover just one work among all those that have been lost in history… I would have chosen this one, without hesitation”. Such is the conviction and fascination of art expert Eric Turquin for the painting known as the “Toulouse Caravaggio” he has been entrusted to sell by auctioneer Marc Labarbe.

thierry Ehrmann: “After five years of research, analysis and polemics, the two men have announced that the owners are happy to let the Art Market decide the value of this exceptional and extraordinarily powerful work for which the French State has finally granted an export visa”.

caravage-london

Michelangelo Merisi, known as Caravaggio (1571-1610)
Judith and Holofernes (c.1604 – 1605)

<VIDEO>
[http://serveur.serveur.com/Press_Release/video/caravage-london.mov]

This Thursday 28 February at the Colnaghi Gallery in London, against the backdrop of London first prestige sales of the year, Eric Turquin and Marc Labarbe confirmed at a press conference that the Judith and Holofernes painting will be auctioned on 27 June 2019.

However the location of its sale is the biggest surprise… not London, not New York, not even in Paris… but rather where it all began… in the south-west of France where it was found, by chance, in the attic of a house near Toulouse, in 2014. Moreover, the painting’s owners have re-confirmed that the Toulouse auctioneer they originally contacted – Marc Labarbe, who first recognized the exceptional qualities of the work – will be responsible for orchestrating the sale of this extraordinary painting.

The stakes are high indeednot only for all art lovers around the world who enjoy a good story and the thrill of market surprises, but also and particularly for the French Art Market. Thirty years after the historic Parisian sale of Pablo Picasso’s Noces de Pierrette (1905), an auction organized on French soil could once again rock the global Art Market.

A museum-quality work

As revealed by Artprice in January, the sellers have opted for an extremely original sales strategy via which they hope to elicit the kind of interest required to sell such a masterpiece.

The work is indeed exceptional in many respects. Its subject (a biblical decapitation), its age (more than 400 years old), its discovery (in an attic in the South of France) and especially its attribution to Caravaggio and the piercing power of Judith’s look, all give this painting a very special place in History and on the Art Market.

Only 68 works by Caravaggio are known to date, scattered throughout the Western world. Many have remained in Italy, hanging in the most beautiful churches of Rome, Naples and Sicily, while the others contribute to the notoriety of some of the world’s most prestigious European and American institutions: London’s National Gallery, New York’s Metropolitan Museum and the Paris Louvre each have three, while Madrid’s Prado and Saint Petersburg’s Hermitage each have a single painting by Caravaggio.

Acquiring this latest discovery probably appeals to all of the world’s major museums. However, few of them can afford it. The current estimate for the work is somewhere between between €100 and €150 million; but, the annual acquisition budget of the Louvre Museum (the world’s leading museum by visitor number) is still under €20 million. Likewise, lots of Japanese, English and Russian museums – who would love to own this newly discovered masterpiece – are unlikely to be in the running to acquire it.

Unless a State decides to make an exceptional grant, public museums will have to give way to major private collectors. In recent years Western, Asian and Middle Eastern billionaires have snapped up all the best works auctioned. Their immense financial power seems limitless when it comes to investing in the last remaining jewels of Art History in circulation.

Auction results above $100 million
© Arptrice.com

Artist Artwork Price Sale Auction House

  1. Leonardo DA VINCI (1452-1519) Salvator Mundi (c.1500)
    $450,312,500 15/Nov/2017 Christie’s – New York
  2. Pablo PICASSO (1881-1973) Les femmes d’Alger (Version ‘O’) (1955)
    $179,365,000 11/May/2015 Christie’s – New York
  3. Amedeo MODIGLIANI (1884-1920) Nu couché (1917-18)
    $170,405,000 09/Nov/2015 Christie’s – New York
  4. Amedeo MODIGLIANI (1884-1920) Nu couché (sur le côté gauche) (1917)
    $157,159,000 14/May/2018 Sotheby’s – New York
  5. Francis BACON (1909-1992) Three Studies of Lucian Freud (1969)
    $142,405,000 12/Nov/2013 Christie’s – New York
  6. Alberto GIACOMETTI (1901-1966) L’homme au doigt (1947)
    $141,285,000 11/May/2015 Christie’s – New York
  7. QI Baishi (1864-1957) Screens of landscapes (1925)
    $140,954,580 17/Dec/2017 Poly – Beijing
  8. Edvard MUNCH (1863-1944) The scream (1895)
    $119,922,500 02/May/2012 Sotheby’s – New York
  9. Pablo PICASSO (1881-1973) Fillette la corbeille fleurie (1905)
    $115,000,000 08/May/2018 Christie’s – New York
  10. Jean-Michel BASQUIAT (1960-1988) Untitled (1982)
    $110,487,500 18/May/2017 Sotheby’s – New York
  11. Pablo PICASSO (1881-1973) Nude, Green Leaves and Bust (1932)
    $106,482,500 04/May/2010 Christie’s – New York
  12. Andy WARHOL (1928-1987) Silver Car Crash (Double Disaster) (1963)
    $105,445,000 13/Nov/2013 Sotheby’s – New York
  13. Pablo PICASSO (1881-1973) Garçon à la pipe (1905)
    $104,168,000 05/May/2004 Sotheby’s – New York
  14. Alberto GIACOMETTI (1901-1966) L’homme qui marche I (1960)
    $103,689,994 03/Feb/2010 Sotheby’s – London
  15. Alberto GIACOMETTI (1901-1966) Chariot (1950)
    $100,965,000 04/Nov/2014 Sotheby’s – New York

To date, only fifteen works have publicly sold above the $100 million threshold. All of these were hammered in the three major capitals of the Art Market, organised by the three most powerful auction houses on the planet. However, today, with globalisation having so radically changed the global art market, this operating system could well be completely obsolete.

Having remained locked up Eric Turquin’s Paris offices for many years, the Toulouse Caravaggio has finally received its export visa and has began a world tour. Currently in London, the work will then be taken to New York to steal the spotlight during the prestige sales in May, before returning to Toulouse to be put on sale.

According to Artprice’s CEO / Founder, thierry Ehrmann, “when everyone has seen Judith decapitating Holofernes and has experienced the extraordinary power of this painting, the location of the sale will not matter much. Whether sold in Toulouse or New York, Caravaggio will go to the highest bidder. In any case, the painting will certainly not remain in Toulouse, nor in France.

The work’s owners want an ‘authentic’ sale, giving the Market the final word… without trying to control it. It’s a way of doing things that we have almost forgotten, and yet it is the veritable purpose of public sales. This confidence in the market can only be rewarded.”

Copyright ©2019 thierry Ehrmann – www.artprice.com

Try our services (free demo):

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About Artprice:

Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.

Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2018/10/bio-2019-whos-who-thierry-ehrmann.pdf ).

Dicover Artprice in video: https://www.artprice.com/video

Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.

Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications.

For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2017 published last March 2018: https://www.artprice.com/artprice-reports/the-art-market-in-2017

Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.

About the Artron Group:

Artron Art Group (Artron), a comprehensive cultural industrial group founded in 1993 by Wan jie, is committed to inheriting, enhancing and spreading art value. Based on abundant art data, Artron provides art industry and art fans with professional service and experience of quality products by integrated application of IT, advanced digital science and innovative crafts and materials.

Having produced more than 60,000 books and auction catalogues, Artron is the world’s largest art book printer with a total print volume of 300 million a year. It has more than 3 million professional members in the arts sector and an average of 15 million daily visits, making it the world’s leading art website.”

Artron’s Web: www.Artron.net

Artprice’s Contemporary Art Market Annual Report for 2017 – free access at: https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2017

Artprice’s press releases:

http://serveur.serveur.com/Press_Release/pressreleaseen.htm

https://twitter.com/artpricedotcom

Artmarket News:

https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom

https://www.facebook.com/artpricedotcom 3.8 million subscribers

http://artmarketinsight.wordpress.com/

Discover the Alchemy and the universe of Artprice http://web.artprice.com/video, which headquarters are the famous Museum of Contemporary Art, the Abode of Chaos:

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Artprice: Top 20 photographers by 2018 auction turnover

2019/02/14 Commentaires fermés

In our series of art market rankings designed to highlight some of its key trends, this week, artprice take a look at the photography market at auction.

thierry Ehrmann: ”The photography market represents just 1.7% of global Fine Art auction turnover, and 3% of the total number of Fine Art lots sold. But it has very interesting specificities that distinguish it from other Fine Art segments, starting with the fact that it is strongly dominated by Contemporary Art. Somewhat unusually, the figurehead of this market is, this year again, a woman, and an artist at the height of her art… Cindy Sherman”.

Gustave LE GRAY (1820-1884) Boats leaving the port of Le Havre (1856-57)

Gustave LE GRAY (1820-1884)
Boats leaving the port of Le Havre (1856-57)

 

1. Cindy Sherman (1954) – United States

$6,737,871

With 18 lots already auctioned above the $1 million threshold, Cindy Sherman is one of the three unmissable artists in today’s photography market. The prices of her photos have been gradually rising since 2012 and her market is particularly liquid with more than 60 photographs selling at auction per year and an unsold rate of just 20%.

2. Richard Prince (1949) – US

$6,504,718

3. Andreas Gursky (1955) – Germany

$5,147,708

4. Wolfgang Tillmans (1968) – Germany

$4,947,645

Single edition photographs from Tillmans’ series Freischwimmer Einzelgänger and Greifber have been hugely successful over the last two years in auction rooms and now fetch over $600,000. Yet more than 60% of his photos still sell for under $50,000 at auction. Wolfgang Tillmans was discovered by the general public in 2000 after winning the Turner Prize. In 2017, he was offered a retrospective at the Fondation Beyeler in Basel.

5. Irving Penn (1917-2009) – United States

$3,940,908

6. Robert Mapplethorpe (1946-1989) – United States

$3,433,837

7. Hiroshi Sugimoto (1948) – Japan

$3,277,496

While the United States largely dominates the photography market, Germany, Japan and France are still very attached to this medium. Hiroshi Sugimoto has been the most successful Japanese photographer on the secondary market for the last 15 years. His maritime horizons – photographed all over the planet – form his most accomplished works and the works most appreciated by collectors. His major photos, in five editions, today fetch over $300,000.

8. Richard Avedon (1923-2004) – United States

$2,533,905

9. Ansel Easton Adams (1902-1984) – United States

$2,424,772

10. Diane Arbus (1923-1971) – United States

$2,380,129

11. Helmut Newton (1920-2004) – Germany

$2,266,289

Newton is one of the rare major photographers to have hammered an auction record in 2018. The only known print of Panoramic Nude with Gun, Villa d’Este Como (1989) far exceeded Phillips’ estimates in London on 18 May, fetching nearly a million dollars.

12. Peter Beard (1938) – United States

$2,260,378

13. Thomas Ruff (1958) – Germany

$1,517,803

14. Barbara Kruger (1945) – United States

$1,507,283

15. Gerhard Richter (1932) – Germany

$1,507,119

16. Gustave Le Gray (1820-1884) – France

$1,448,561

In 2018 no less than 77 photographs by Gustave Le Gray were auctioned, with a peak price of $225,000. This performance makes Le Gray the most successful 19th century photographer – or, put another way – the photography market’s leading historical figure. However, the prices of his works seem to be contracting. Boats leaving the port of Le Havre (1856-57), which had set a record $1,264,000 on 18 June 2011 at Rouillac (France), was resold for $965,000 on 17 February 2016 at Christie’s in New York.

17. Man Ray (1890-1976) – United States

$1,376,050

The year 2017 gave a substantial boost to Man Ray’s market, notably by setting two successive records for his photographs. First Portrait of a tearful woman (1936) on 17 May 2017 in New York, and then Black and White (1926) on 9 November 2017 in Paris, acquired for $2.2 million and $3.1 million respectively. Although his best works were much rarer in 2018, Man Ray remains a pillar of the photography market.

18. Edward Henry Weston (1886-1958) – United States

$1,353,158

19. László Moholy-Nagy (1895-1946) – Hungary

$1,332,653

20. Robert Frank (1924) – Switzerland

$1,316,356

After experiencing strong price growth just before the 2008 crisis, the value of Robert Franck’s works has slowly stabilized. The price of his photos are still 2.5 times higher on average than 20 years ago, with results regularly exceeding $100,000.

Copyright ©2019 thierry Ehrmann – www.artprice.com

Try our services (free demo):

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Subscribe to our services:

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About Artprice:

Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.

Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2018/10/bio-2019-whos-who-thierry-ehrmann.pdf ).

Dicover Artprice in video: https://www.artprice.com/video

Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.

Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications.

For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2017 published last March 2018: https://www.artprice.com/artprice-reports/the-art-market-in-2017

Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.

About the Artron Group:

“Artron Art Group (Artron), a comprehensive cultural industrial group founded in 1993 by Wan jie, is committed to inheriting, enhancing and spreading art value. Based on abundant art data, Artron provides art industry and art fans with professional service and experience of quality products by integrated application of IT, advanced digital science and innovative crafts and materials.

Having produced more than 60,000 books and auction catalogues, Artron is the world’s largest art book printer with a total print volume of 300 million a year. It has more than 3 million professional members in the arts sector and an average of 15 million daily visits, making it the world’s leading art website.”

Artron’s Web: www.Artron.net

Artprice’s Contemporary Art Market Annual Report for 2017 – free access at: https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2017

Artprice’s press releases:

http://serveur.serveur.com/Press_Release/pressreleaseen.htm

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https://www.facebook.com/artpricedotcom 3.7 million subscribers

http://artmarketinsight.wordpress.com/

Discover the Alchemy and the universe of Artprice http://web.artprice.com/video, which headquarters are the famous Museum of Contemporary Art, the Abode of Chaos:

http://goo.gl/zJssd

https://vimeo.com/124643720

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3.5 million subscribers

Contact: ir@artprice.com

Artprice: Artists under forty – Top 10 ranking

2019/02/05 Commentaires fermés

In our fortnightly series of art market rankings designed to highlight some of its key trends, this week, artprice take a look at the new generation of artists emerging on the secondary market. One conclusion stands out above the rest: you don’t have to be over forty to fetch over a million dollars!

thierry Ehrmann: “There are six artists in our ranking of the Top 10 results of the year 2018 for artists aged less than forty. Among them, two have attracted 7 digit results: the young Chinese HAO Liang and the American artist of Nigerian origin Njideka Akunyili CROSBY. They both generated two results above the million-dollar threshold and they are both 35 years old. However, their domination of this ranking comes as no major surprise…”

Rank Artist Hammer Price ($) Artwork Sale
1 Njideka Akunyili CROSBY (1983) 1 ,932 ,500 Mimetic Gestures 2018-05-18 – Christie’s New York
2 HAO Liang (1983) 1, 855 ,061 Shell 2018-09-30 – Sotheby’s Hong Kong
3 Njideka Akunyili CROSBY (1983) 1 ,392 ,500 Untitled 2018-11-16 – Christie’s New York
4 HAO Liang (1983) 1 ,361, 398 The Hunter and the Transformations of Hell 2018-11-24 – Christie’s Wanchai
5 Avery SINGER (1987) 735 ,000 Fellow Travelers, Flaming Creatures 2018-05-16 – Sotheby’s New York
6 JIA Chang (1981) 678, 805 Elephant 2018-06-17 – Poly International Auction Co.,Ltd Pékin
7 Avery SINGER (1987) 591, 000 Untitled (Saturday Night) 2018-11-15 – Sotheby’s New York
8 Avery SINGER (1987) 435 ,000 Flute Soloist 2018-09-25 – Sotheby’s New York
9 Cory ARCANGEL (1978) 399, 000 Photoshop CS… 2018-05-17 – Phillips New York
10 Nate LOWMAN (1979) 350 ,000 Escalade 2018-11-15 – Sotheby’s New York
copyright © 2019 artprice.com

Auction turnover CROSBY vs. HAO

Auction turnover CROSBY vs. HAO

Auction turnover CROSBY vs. HAO

Two young ‘millionaires’

Njideka Crosby has been headline news since 2014 when she was awarded the James Dicke Contemporary Artist Prize by the Smithsonian American Art Museum. On the secondary market, her works have been subject to massive demand since 2016 when her works first appeared… (also the year of her first 7-digit result).

Today, with seven 7-digit results under her belt over two years, she is the clear spearhead of a new generation of African-American artists shaking the auction market.

Her record currently stands at over $3 million for a painting of her sister (The Beautiful Ones) sold in 2017 at Christie’s in London by Peggy Cooper Cafritz, an equal rights activist and a major collector of African-American and African art who died last year. Initially American, demand for Crosby’s work quickly spread to Asia (with the successful sale of Tea Time In New Haven, Enugu for over $900,000 at Christie’s in Hong Kong on 27 May 2017).

Supply is clearly well below current demand: her works are still rare at auction and none has ever failed to sell. The artist, who already had the support of a major gallery through Victoria Miro in London, is now also supported, since last November, by the powerful David Zwirner Gallery in Asia and the United States.

The Chinese art market produced the second ‘millionaire’ young artist of 2018 in the person of Hao Liang who first caught people’s attention in 2014 with a superb auction debut: a silk scroll over 13 meters long titled The Tale of the Clouds that fetched $912,000 at Christie’s in Shanghai.

The year 2018 saw a double auction consecration for this young artist acclaimed by the Asian market, with two new million-plus results, including a $1.8 million record on 30 September in Hong Kong versus a pre-sale estimate of between $400,000 and $600,000. While the market for this prodigy has not yet spread beyond Greater China, his notoriety has already spread across the globe.

Supported by the powerful Gagosian Gallery (which gave him a New York exhibition last spring), the artist is already in the collections of major museums around the world, including the Metropolitan Museum of Art in New York, the Pompidou Center in Paris and the Kadist in San Francisco.

Straw fire or new meteor?

Chinese collectors always support their artists, even when those artists don’t yet have an international reputation.

For proof… our Top 10 ranking also contains an artist about whom almost nothing is known except that he is called Jia Chang, was born in 1981, and that one of his drawings elicited vigorous bidding at the Four Seasons Hotel in Beijing at a sale organized by Poly Auction.

The drawing entitled Elephant (355 x 190 cm) multiplied its pre-sale estimate by five with a final bid of $679,000 on 17 June 2018. A spectacular result that could be a straw fire… or may translate into solid medium-term support.

In a different register, the ranking also highlights the American artist Avery Singer, aged 31, who already has a strong CV after exhibitions at the Fondazione Sandretto Re Rebaudengo (Turin), the Kunsthalle in Zürich, the New Museum in New York and the Hammer Museum In L.A..

Courted by museums and the media, the young artist is seeing her auction prices rocket after a first discreet appearance at Sotheby’s in London in October 2017 and despite two unsold pieces in New York last year. Singer produces surprising large fictional compositions, mainly in black and white, integrating 3D modeling.

Considering the support she is receiving, we can expect further surprises. In 2013, her canvas Fellow Travelers, Flaming Creatures was acquired from New York’s Greene Naftali Gallery for $20,000. In May 2018 the same work fetched $735,000 at Sotheby’s New York.

The buyer was none other than Larry Gagosian.

Copyright ©2019 thierry Ehrmann – www.artprice.com

 

Try our services (free demo):

https://www.artprice.com/artist/23640/baishi-qi

Subscribe to our services:

https://www.artprice.com/subscription

 

About Artprice:

Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.

Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2018/10/bio-2019-whos-who-thierry-ehrmann.pdf ).

Dicover Artprice in video: https://www.artprice.com/video

Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.

Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications.

For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2017 published last March 2018: https://www.artprice.com/artprice-reports/the-art-market-in-2017

Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.

About the Artron Group:

“Artron Art Group (Artron), a comprehensive cultural industrial group founded in 1993 by Wan jie, is committed to inheriting, enhancing and spreading art value. Based on abundant art data, Artron provides art industry and art fans with professional service and experience of quality products by integrated application of IT, advanced digital science and innovative crafts and materials.

Having produced more than 60,000 books and auction catalogues, Artron is the world’s largest art book printer with a total print volume of 300 million a year. It has more than 3 million professional members in the arts sector and an average of 15 million daily visits, making it the world’s leading art website.”

Artron’s Web: www.Artron.net

Artprice’s Contemporary Art Market Annual Report for 2017 – free access at: https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2017

Artprice’s press releases:

http://serveur.serveur.com/Press_Release/pressreleaseen.htm

https://twitter.com/artpricedotcom

Artmarket News:

https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom

https://www.facebook.com/artpricedotcom 3.7 million subscribers

http://artmarketinsight.wordpress.com/

Discover the Alchemy and the universe of Artprice http://web.artprice.com/video, which headquarters are the famous Museum of Contemporary Art, the Abode of Chaos:

http://goo.gl/zJssd

https://vimeo.com/124643720

The Contemporary Art Museum The Abode of Chaos

https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999

3.5 million subscribers

Contact: ir@artprice.com

The video of Artprice headquarters… among the most watched on Facebook with more than 25 million views of the Organe Contemporary Art Museum which manages the Demeure du Chaos/Abode of Chaos

2019/02/04 Commentaires fermés

 

In May and December 2018, Artprice – the world Leader in art market information – and its Headquarters, the Organe Contemporary Art Museum managing the open-to-the-public (ERP) Demeure du Chaos/Abode of Chaos (dixit the New York Times), were contacted by Antoine de Caunes, acclaimed journalist and director, from the pay-TV channel CANAL PLUS, one of France’s most prominent TV networks, with a view to shooting an episode of de Caunes’ La Gaule d’Antoine for a scheduled first showing in early May 2018. The show’s theme is a highly selective discovery of France’s 13 regions focusing on their special and not-to-be-missed places.

Via a superb mix of commentary and images, Antoine de Caunes’ professionalism and involvement ensured that the resulting video-film accurately seized the spirit of what Artprice represents and what its head office, the Organe Contemporary Art Museum managing the Demeure du Chaos/Abode of Chaos ERP is all about. The site has already been the subject of over 3,600 international press and audiovisual spots and documentaries over the past 20 years.

https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999/videos/10156396733800979/

Within a matter of weeks de Caune’s video had became a cult video on Facebook. It now exceeds 25 million views.

(as per the official confirmation by a bailiff’s report established by the Estelle PONS – Sarah MERGUI licensed court bailiff partnership in Lyon )

The bailiff’s report concerns 2 URLs that lead to the Facebook video of the Canal+ documentary which belong, on the one hand, to Artprice’s Facebook world page which enjoys 3,724million followers and the Organe Contemporary Art Museum managing the Demeure du Chaos/Abode of Chaos ERP’s Facebook world page with 3.516 million followers.

These figures prove the extraordinary worldwide success of the episode of La Gaule d’Antoine on the Organe Contemporary Art Museum managing Artprice’s Abode of Chaos ERP headquarters.

According to thierry Ehrmann, our international support shows to what extent the Organe Contemporary Art Museum which manages the Abode of Chaos ERP carries a universal artistic message. The fact that it houses Artprice’s headquarters is the ideal vector for communicating the image of Artprice as world leader in the Art World, including in China with its loyal partner of 9 years, the Artron Group and its president-founder, Mr Wan Jie, who, with his keen eye for Contemporary Art, had shown high interest in the Abode of Chaos during his October visit for the signing ceremony (which video had garnered 3.6 million views):

https://www.facebook.com/artpricedotcom/videos/2179810805627498/

Artprice’s Facebook world page with 3.41 million followers and the Organe Contemporary Art Museum, managing the Demeure du Chaos/Abode of Chaos ERP, Facebook page with 3.516 million followers reflects an exceptional satisfaction rate on a documentary video seen more than 25 million times with a number of don’t likes that is extremely low for the world of B2B and B2C marketing

In fact we have officially counted a satisfaction rate of 99.855% on Artprice’s Facebook page and of 99.724% on the Demeure du Chaos/Abode of Chaos’s Facebook page. (Official report by court bailiffs Estelle PONS – Sarah MERGUI on 20 August 2018, based on a sample of 10 million views).

The same report also noted that according to Facebook’s administrator stats, we were reaching 7.5 million unique persons with our content per week.

It is also worth mentioning that Artprice and the Demeure du Chaos/Abode of Chaos are at the origin of the famous Facebook / Google Greater Lyon Culture Ranking which is now 8 years old and is currently calculating its 65rd ranking.

https://artmarketinsight.wordpress.com/2019/01/25/thierry-ehrmann-en-avant-premiere-le-classement-n65-exclusif-de-fevrier-2019-des-principaux-acteurs-culturels-du-grand-lyon-la-metropole/

The result of our ranking leaves no doubt whatsoever: the Organe Contemporary Art Museum managing the Demeure du Chaos/Abode of Chaos ERP is the most visited Museum of Contemporary Art in the Rhône-Alpes region with 180,000 visitors per year and is the leading establishment in terms of followers, with 3,516,745 and an exceptional logarithmic commitment of 74.

Likewise, if we look at Google ratings of visitors to Art museums, the Organe Contemporary Art Museum managing the Demeure du Chaos/Abode of Chaos ERP arrives #1 in front of 3 institutions with a rating of 4.6. Lyon’s Musée des Beaux-Arts is second with a rating of 4.4, and Lyon’s Museum of Contemporary Art is third with a rating of 4.1. Rated 4.0, the Institute of Contemporary Art is fourth.

In the non-cultural world, the major global brands, most of which had strong commercial links to the recent World Cup and France’s victory, posted much lower scores than our video. See the scores of videos posted by CIC, Easy Voyage, LG France, Carrefour, SFR, Orange France, McDonalds France, APRR Group on: http://www.e-marketing.fr/Thematique/veille-1097/Breves/Les-meilleures-videos-marques-diffusees-Facebook-333124.htm

Acknowledgments to the editorial team of e-marketing.fr in collaboration with NukeSuite

We take this opportunity to remind investors that at its AGM on 30 June 2017, Artprice made the commitment to become the world’s leading Art Market information provider on social networks, when it had 345,000 followers. To achieve this very ambitious goal, Artprice and its entity Artmarket.com needed to add at least a million content followers in the period H2 2017 / H1 2018.

We are proud to say that we have largely exceeded this target with follower growth of +980% during the July 2017 / February 2019 period for the Artprice page, growth which places it among the most followed pages in the world with 3,724,393 subscribers at February 02, 2019

A number of major international listed groups who believed they were making an economy by not bothering with the complexities of social networks have suffered fatal delays, generating significant economic damage that could well compromise their positions. Even with a massive financial budget, the accumulated delay cannot be recuperated because of the elaborate architecture of the social networks. Certain groups in the S&P 500 represent good examples of this problem.

Henceforward, social network reach is a paramount and vital parameter for any entity that wishes to protect the company’s capital and its future, not to mention, its notoriety and global visibility. This is naturally the case for Artprice, as World Leader in Art Market Information with its Standardised Marketplace, Artmarket.com, together with Artron group in China.

For this reason, Artprice concentrated on this line of communication from a very early stage, anticipating long ago the power of social networks in its marketing, its data banks, its IT teams and its sales personnel… pushing outwards every day a little further via multiple social networks to reach millions of qualified new members for its range of paid subscriptions to its databanks.

Next publications of Artprice :

In their next Art Market Report (March 2019), Artprice and their exclusive partner Artron (chaired by thierry Ehrmann and Wan Jie respectively), will offer a detailed analysis of the different facets of the Chinese Art Market and of the growing success of the country’s artists.

Try our services (free demo):

https://www.artprice.com/artist/23640/baishi-qi

Subscribe to our services:

https://www.artprice.com/subscription

Copyright www.artprice.com 1987-2019 thierry Ehrmann

About Artprice:

Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.

Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2018/10/bio-2019-whos-who-thierry-ehrmann.pdf ).

Dicover Artprice in video: https://www.artprice.com/video

Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.

Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications. For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2017 published last March 2018: https://www.artprice.com/artprice-reports/the-art-market-in-2017

Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.

About the Artron Group:

“Artron Art Group (Artron), a comprehensive cultural industrial group founded in 1993 by Wan jie, is committed to inheriting, enhancing and spreading art value. Based on abundant art data, Artron provides art industry and art fans with professional service and experience of quality products by integrated application of IT, advanced digital science and innovative crafts and materials. Having produced more than 60,000 books and auction catalogues, Artron is the world’s largest art book printer with a total print volume of 300 million a year. It has more than 3 million professional members in the arts sector and an average of 15 million daily visits, making it the world’s leading art website.”

Artron’s Web: www.Artron.net

Artprice’s Contemporary Art Market Annual Report for 2017 – free access at: https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2017

Artprice’s press releases:

http://serveur.serveur.com/Press_Release/pressreleaseen.htm

https://twitter.com/artpricedotcom

Artmarket News:

https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom

https://www.facebook.com/artpricedotcom 3.7 million subscribers

http://artmarketinsight.wordpress.com/

Discover the Alchemy and the universe of Artprice http://web.artprice.com/video, which headquarters are the famous Museum of Contemporary Art, the Abode of Chaos:

http://goo.gl/zJssd

https://vimeo.com/124643720

The Contemporary Art Museum The Abode of Chaos

https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999

3.5 million subscribers

Contact: ir@artprice.com

Artprice (Beijing): The West’s immense interest in Chinese art

2019/01/28 Commentaires fermés

Far from Beijing and Shanghai, thousands of kilometers from the Middle Kingdom, masterpieces of Chinese art survive, change hands and move from collection to collection. In New York, London, Paris and Brussels, Western collectors – fascinated by an entirely different relationship to drawing, writing, form and colour – are keen to obtain historical works of Chinese art – sometimes thousands of years old.

thierry Ehrmann : “Europeans and Americans are also interested in the great 20th century Chinese masters, especially those who managed to build bridges with Western culture… while lots of Contemporary Chinese artists (graduates of major art schools in the country) have managed to garner the support of some prestigious galleries in the United States and to seduce some of the Western world’s most powerful collectors”.

Top 5 Chinese artists outside China

by 2018 Auction Turnover

Zao Wou-Ki (1921-2013) 赵无极 $31,250,600

Zhang Daqian (1899-1983) 张大千 $18,509,500

Pan Tianshou (Attrib.) (1897-1971) 潘天寿 $4,804,000

Lin Fengmian (1900-1991) 林风眠 $3,118,500

Yang Feiyun (1954) 楊飛雲 $2,793,300

The awakening and consolidation of the Chinese art market obviously had a profound impact on exchanges of all Chinese artworks throughout the world. In recent years, the price ratings of many Chinese artists have grown exponentially, thanks to a massive, passionate and impatient will to regain control of their own heritage.

Little by little, Chinese artworks are ending up back in their country of origin: Chinese collectors are today – logically – the largest purchasers of Chinese art. As a result, Westerners wishing to participate in this market are forced to follow the prices movements or step out of the ring. As the centre of gravity of the global Art Market shifts towards the East, a new price equilibrium is emerging. And Chinese artworks are the first to benefit.

The artist Fang Lijun in his studio, welcoming Wan Jie (Chairman of the Artron Group), on the right, and thierry Ehrmann (Artprice Chairman), in the center.

Art made in Europe

The paintings of several Chinese artists who settled in Europe during the first two thirds of the 20th century are particularly sought-after by Western buyers, especially since the 2008 financial crisis. In 2000, San Yu’s (常 玉) Woman with arms raised (c. 1920-1930) was acquired for $1,200 at Piasa in Paris; it has just been sold for $170,000 at Sotheby’s in the French capital.

And this result is far from being an isolated case. The prices of works by Chu Teh Chun show overall growth comparable to that of San Yu’s works: +2,000% since the beginning of the 21st century according to Artprice’s price index calculations.

There can be no doubt that the extraordinary value accretions of the Franco-Chinese lyrical abstractions created by Chu Teh Chun and, to an even higher level, of those created by Zao Wou-Ki, have been substantially boosted by the recent deaths of these artists (2014 and 2013 respectively). In the long run, their price charts show a stunning evolution.

Zao Wou-Ki’s painting 23.05.64 was auctioned for the first time in 1991 by the auction house Briest in Paris for $78,000. In December 2000, an Asian collector acquired it at Camels (in Paris again) for $251,600. On 30 September 2018, the same piece fetched $11,547,240 at Sotheby’s in Hong Kong!

The return of Chinese works

Via Hong Kong, the Chinese Art Market is managing to recover lots of masterpieces dispersed all over the world. Among the most recent, an imposing 4.35 metre long scroll featuring a painting by Su Shi 苏 轼, active in the 11th century, was sold for $59,206,800 at Poly last month. The scroll, which also contains four colophons by major Chinese intellectuals between the 11th and 17th centuries, was kept in a private Japanese collection after spending many years in Tokyo’s Soraikan Collection.

As Alex Chang, CEO of Hong Kong’s Poly auction house, explained in Artprice’s 2017 Contemporary Art Market Report: “I think there will eventually be a junction point between Oriental art and Western art. […] However, I believe that as far as traditional Chinese art is concerned, Western collectors will probably continue to focus their interest primarily on objects and antiques, while Asian collectors will prefer Chinese calligraphy and painting”.

The conquest of America…

The major American galleries play a vital role in the dissemination of Contemporary Chinese art in the world. Not only by offering them exposure in their exhibition spaces located in the world’s principal economic capitals, but also by their participation in the world’s most prestigious Contemporary art fairs.

In this context, the contribution of the Pace Gallery (which has branches in New York, London, Beijing, Hong Kong, Palo Alto, Seoul and Geneva) has allowed more or less the entire Western world to discover a whole wave of Contemporary artists Chinese. Of the 12 currently represented by the Pace Gallery, six were graduates from the famous Capital Academy of Fine Art in Beijing between the late 1980s and early 2000s (Qia Xiaofei). This school has been an incredible breeding ground for new Chinese artistic creation. But the country’s most famous Contemporary painters were not all graduates from this Academy. Zhang Xiaogang and Yue Minjun – both represented by the Pace Gallery and among the most popular Chinese oil painters for Western collectors – received artistic training at the Sichuan Fine Arts Institute and the Hebei Normal University respectively.

In their next Art Market Report (March 2019), Artprice and their exclusive partner Artron (chaired by thierry Ehrmann and Wan Jie respectively), will offer a detailed analysis of the different facets of the Chinese Art Market and of the growing success of the country’s artists.

Try our services (free demo):

https://www.artprice.com/artist/23640/baishi-qi

Subscribe to our services:

https://www.artprice.com/subscription

Copyright ©2019 thierry Ehrmann – www.artprice.com

About Artprice:

Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.

Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2018/10/bio-2019-whos-who-thierry-ehrmann.pdf ).

Dicover Artprice in video: https://www.artprice.com/video

Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.

Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications. For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2017 published last March 2018: https://www.artprice.com/artprice-reports/the-art-market-in-2017

Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.

About the Artron Group:

“Artron Art Group (Artron), a comprehensive cultural industrial group founded in 1993 by Wan jie, is committed to inheriting, enhancing and spreading art value. Based on abundant art data, Artron provides art industry and art fans with professional service and experience of quality products by integrated application of IT, advanced digital science and innovative crafts and materials. Having produced more than 60,000 books and auction catalogues, Artron is the world’s largest art book printer with a total print volume of 300 million a year. It has more than 3 million professional members in the arts sector and an average of 15 million daily visits, making it the world’s leading art website.”

Artron’s Web: www.Artron.net

Artprice’s Contemporary Art Market Annual Report for 2017 – free access at: https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2017

Artprice’s press releases:

http://serveur.serveur.com/Press_Release/pressreleaseen.htm

https://twitter.com/artpricedotcom

Artmarket News:

https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom

https://www.facebook.com/artpricedotcom 3.6 million subscribers

http://artmarketinsight.wordpress.com/

Discover the Alchemy and the universe of Artprice http://web.artprice.com/video, which headquarters are the famous Museum of Contemporary Art, the Abode of Chaos:

http://goo.gl/zJssd

https://vimeo.com/124643720

The Contemporary Art Museum The Abode of Chaos

https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999

3.5 million subscribers

Contact: ir@artprice.com

Artprice (Beijing) : l’immense intérêt de l’Occident pour l’art chinois

2019/01/28 Commentaires fermés

Artprice (Beijing) : l’immense intérêt de l’Occident pour l’art chinois

Bien loin de Beijing et de Shanghai, à des milliers de kilomètres de l’Empire du Milieu, des chefs-d’oeuvre de l’art chinois continuent de vivre, de voyager, de passer de collections en collections. A New York, Londres, Paris, Bruxelles, les collectionneurs occidentaux, fascinés par un rapport tout autre au dessin, à l’écriture, à la forme et à la couleur, tentent de mettre la main sur des pièces historiques – parfois millénaires – de l’art chinois.

thierry Ehrmann : « Mais européens et américains s’intéressent aussi aux grands maîtres du XXème siècle, notamment ceux qui ont réussi à créer des ponts avec la culture occidentale. A leur tour, de nombreux plasticiens contemporains chinois, diplômés des grandes écoles d’art du pays, ont réussi à intégrer les plus prestigieuses galeries outre-Pacifique, et à séduire les plus puissants collectionneurs ».

Top 5 des artistes chinois hors Chine

par produit de ventes aux enchères 2018

Zao Wou-Ki (1921-2013) 赵无极 – 31,250,600$

Zhang Daqian (1899-1983) 张大千 – 18,509,500$

Pan Tianshou (Attrib.) (1897-1971) 潘天寿 – 4,804,000$

Lin Fengmian (1900-1991) 林风眠 – 3,118,500$

Yang Feiyun (1954) 楊飛雲 – 2,793,300$

Le réveil du marché de l’art chinois et sa consolidation ont évidemment eu un impact profond sur les échanges de toutes les œuvres d’art chinoises dans le monde. Au cours des dernières années, la cote de nombreux artistes a connu une croissance exponentielle, grâce à une demande massive, passionnée et impatiente de reprendre le contrôle.

Peu à peu, les œuvres chinoises retournent naturellement vers leur pays d’origine : les collectionneurs chinois redeviennent aujourd’hui logiquement les plus grands acheteurs d’art chinois. Si bien que les Occidentaux qui veulent prendre part à ce marché se voient obligés de suivre, ou de se coucher. Avec le glissement du Marché de l’Art vers l’Est, un nouvel équilibre des prix se dessine. Et les œuvres chinoises se trouvent en première ligne.

Artprice (Beijing) : l’immense intérêt de l’Occident pour l’art chinois

Artprice (Beijing) : l’immense intérêt de l’Occident pour l’art chinois

L’artiste Fang Lijun dans son studio, accueillant Wan Jie (Président du Groupe Artron), à droite, et thierry Ehrmann (Président d’Artprice), au centre.

Des œuvres réalisées en Europe

Les peintures de plusieurs artistes chinois qui se sont installés en Europe pendant les deux premiers tiers du Xxème siècle connaissent un succès particulièrement imposant auprès des acheteurs occidentaux, notamment depuis la crise financière de 2008. Femme aux bras levés (c. 1920-1930) de San Yu (常玉), payée 1,200$ chez Piasa à Paris en 2000, vient d’être revendue 170,000$ chez Sotheby’s dans la capitale française.

Or ce résultat est loin d’être un cas isolé. Les prix des œuvres Chu Teh Chun affichent en effet une croissance globale comparable à celles de San Yu : +2,000 % depuis le début du XXIème siècle, selon l’indice des prix Artprice.

Il n’y a pas de doute que l’abstraction lyrique franco-chinoise de Chu The Chun, et à plus forte raison encore celle de Zao Wou-Ki, connaît une extraordinaire prise de valeur depuis la disparition respective de ces peintres en 2014 et 2013. Sur le long terme, l’évolution des prix est saisissante.

Le tableau 23.05.64 de Zao Wou-Ki a été adjugé pour la première fois aux enchères en 1991 par la maison de ventes Briest à Paris pour 78,000$. En décembre 2000, un collectionneur asiatique l’a acquis chez Camels, à Paris toujours, pour 251,600$. Mais ce 30 septembre 2018, c’est à Hong Kong, chez Sotheby’s, que la toile 23.05.64 a été revendue pour 11,547,240$.

Le retour des œuvres chinoises

Via Hong Kong, le Marché de l’Art chinois parvient à remettre la main sur de nombreux chefs-d’oeuvre éparpillés de par le monde. Parmi les plus récentes, un imposant rouleau de 4,35m de long, comportant une peinture de l’artiste Su Shi 苏轼, actif au XIème siècle, a été vendue 59,206,800$ chez Poly le mois dernier. Le rouleau, qui rassemble également quatre colophons d’intellectuels chinois majeurs apposés entre le 11ème et le 17ème siècles, était gardé dans une collection privée japonaise, après avoir été longtemps enfermé dans la Collection Soraikan à Tokyo.

Comme l’expliquait Alex Chang, Pdg de la maison de ventes Poly Hong Kong dans le Rapport sur le Marché de l’Art Contemporain Artprice 2017 : « Je pense qu’il existera au final un point de jonction entre l’art oriental et l’art occidental. […] Toutefois, je crois qu’en ce qui concerne l’art traditionnel chinois, l’intérêt des collectionneurs occidentaux continuera de se porter prioritairement sur les objets et les antiquités, tandis que les collectionneurs asiatiques préféreront la calligraphie et la peinture chinoises.»

La conquête américaine

Les grandes galeries américaines jouent un rôle primordial dans la diffusion de l’art contemporain chinois à l’échelle mondiale. Non seulement en leur offrant d’ visibilité dans leurs espaces d’exposition esséminés à travers les principales capitales économique mais aussi de par leur participation aux plus prestigieuses foires d’art contemporains, aux quatre coins de la planète.

Dans ce contexte, l’apport de la galerie Pace (qui possède des antennes à New York, Londres, Beijing, Hong Kong, Palo Alto, Séoul et Genève) a permis à tout l’Occident de découvrir une vague entière d’artistes contemporains chinois. Parmi les 12 que représente actuellement la galerie Pace, six ont été diplômés de la célèbre Capital Academy of Fine Art à Pékin entre la fin des années 1980 et le début des années 2000 (Qia Xiaofei). Cette école est un incroyable vivier pour la nouvelle création plastique chinoise. Mais les plus célèbres peintres contemporains ne sont pas passés exclusivement par cette Académie. Zhang Xiaogang et Yue Minjun, tous deux représentés par la galerie Pace et parmi les peintres à l’huile chinois les plus appréciés des collectionneurs occidentaux, ont suivi une formation artistique respectivement au Sichuan Fine Arts Institute et à la Hebei Normal University.

Dans le prochain Rapport du Marché de l’Art à paraître prochainement, Artprice et son partenaire exclusif Artron, présidés par thierry Ehrmann et Wan Jie respectivement, analyseront en détails les différentes facettes du Marché de l’Art chinois et le succès croissant de ses artistes.

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Au sujet d’Artron :

Artprice couvre le monde entier et notamment la Chine avec son fidèle partenaire institutionnel Artron Art Group (Artron) fondé en 1993 et présidé par son Fondateur Mr Wan Jie qui est le plus grand imprimeur de livres d’art au monde, avec plus de 60 000 livres et catalogues de vente aux enchères et un volume de publication total de 300 millions par an. Artron.net est la marque la plus respectée du monde de l’art chinois. Artron.net compte plus de 3 millions de membres professionnels dans le secteur des arts et 15 millions de visites quotidiennes en moyenne, ce qui en fait le premier site Web d’art mondial.

A propos d’Artprice :

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Artprice fut fondée en 1997 par thierry Ehrmann qui est son PDG. Artprice est auto-contrôlée par le Groupe Serveur créé en 1987. Voir biographie certifiée de Who’s who © :

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Artprice est le Leader mondial des banques de données sur la cotation et les indices de l’Art avec plus de 30 millions d’indices et résultats de ventes couvrant plus de 700 000 Artistes. Artprice Images® permet un accès illimité au plus grand fonds du Marché de l’Art au monde, bibliothèque constituée de 126 millions d’images ou gravures d’oeuvres d’Art de 1700 à nos jours commentées par ses historiens.

Artprice enrichit en permanence ses banques de données en provenance de 6300 Maisons de Ventes et publie en continu les tendances du Marché de l’Art pour les principales agences et 7200 titres de presse dans le monde. Artprice met à la disposition de ses 4,5 millions de membres (members log in), les annonces déposées par ses Membres, qui constituent désormais la première Place de Marché Normalisée® mondiale pour acheter et vendre des oeuvres d’Art à prix fixe ou aux enchères (enchères réglementées par les alinéas 2 et 3 de l’article L 321.3 du Code du Commerce).

Artprice, labellisée par le BPI pour la deuxième fois en novembre 2018, développe son projet de Blockchain sur le Marché de l’Art.

Bilan S1 2018 Mondial du Marché de l’Art, par Artprice en ligne sur :

https://fr.artprice.com/artprice-reports/bilan-du-marche-de-lart-s1-2018-par-artprice-com

Le Rapport Annuel Artprice du Marché de l’Art mondial 2017 publié en mars 2018 :

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https://fr.artprice.com/artprice-reports/le-marche-de-lart-contemporain-2018

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Art markets’ visibility: the alliance between Artprice, Artron and Cision

2019/01/11 Commentaires fermés

An obsolescent hegemony and the birth of competition.

By Aude de Kerros.

At the beginning of 2019, the international art market is experiencing an evolution that will likely have a profound impact on the existing global art market system. The event underlying this structural change is an unexpected and unprecedented strategic business alliance between three companies based on the creation and operation of databanks. Two are specialized in the field of art – both with an online sales capacity – and a third (Cision) selects information from the international press and feeds that information to the press and media directly concerned.

The alliance comes at the end of a decade that has seen a technological revolution in communication and a profound change in geopolitical power relations. Moreover, a clivage has emerged between a very high-end mainstream art market with global visibility, the ‘contemporary-international’ art market, and a whole series of ‘local’ markets that present an art considered ‘non-innovative’ that falls outside the sophisticated and intellectualised ‘art world’. It is in this context that a new partnership has been negotiated between Artprice, Artron and Cision.

– The creation of this game-changing triumvirate was triggered by the listed French art info company Artprice, founded and steered by a larger-than-life and non-conformist personality dedicated to the principle of maintaining his liberty and independence. Thierry Ehrmann is the creator of the most comprehensive databank on the global art market, an exhaustive databank that covers both ‘global financial art’ and ‘local non-sophisticated’ arts. The inclusion of the latter field is a mission that the French state has distinctly eschewed (at its own national level), since its archiving work only covers ‘state-recognised’ conceptual/contemporary artists.

Artron is a Chinese institutionnal company founded in 1993 that aims to promote art and creation in China, providing all of the requisite tools to foster a thriving art sector in a country where the auction market was almost non-existent under the communist regime. It has also built up a comprehensive database that includes all currents of Chinese art.

– Cision is a press observer and distributor, headquartered in Chicago, providing tailored relationships with global media outlets to the world’s influencers and communication strategists.

CARTELS AND MONOPOLIES BEWARE!

Thierry Ehrmann is a Robin Hood character with a strong allergy to monopolies and intermediaries which he hounds relentlessly. Over the years he has turned this allergy into a positive mission to release the art world from its economic and intellectual predators. By analysing the data collected in the Artprice databanks he realised that the high-end global art market, referenced in New York, has a hegemonic visibility around the entire globe; a supply market, without real roots and without any real competition. He also realised that the ‘real’ market, a demand driven market, is infinitely larger, but under-developed due to a lack of visibility.

By contrast, the hegemonic market thrives through a highly interconnected international network, sharing common interests, holding fairs, auctions, exhibitions in museums and international galleries. Its business model combines two levels: a market that closely resembles a pure financial market, secured by collectors operating within a closed circuit, and a mass market occupied by derivative arty objects produced industrially in limited series in all prices and formats (from gallery replicas to keyrings and t-shirts). This latter market effectively translates the original works – which often fetch massive sums at auctions – into ‘promotional icons’.

Together (i.e. the high-end plus its low-end sister), this market owes its legitimacy to its profitability and its various different utilities: simultaneously a ‘social’ and a business platform, generating urban events, tourist attractions, fuelling the museum industry etc. The Global Financial Art system, which provides incomes for a lot of people, also benefits from donations (tax-free of course) from patrons, companies, institutions, as well as subsidies from certain states.

For Thierry Ehrmann, this market is built around a cluster of arcane agreements, in its own image

His databanks of objective information give him prime access to the market’s key information and the analytical firepower behind an inspired strategy. He was the first to note that China had become the world’s leading art market as early as 2009, ahead of America. This fact has attracted little comment, with the media pretending it is insignificant. Thierry Ehrmann quickly understood the impossibility of claiming ownership to a planetary databank that did not include data from the Chinese market, which is difficult to access because of the language obstacle and the Internet barrier. This reality inspired Ehrmann to create links with the Chinese agency Artron and, subsequently, to form an official alliance with Artron in September 2018.

As Artprice has already done for the other countries, it is working towards making its art market data accessible to the entire planet. Apart from anything else, this mission involves the translation and documentation of the spellings of proper names that change from one language to another. To make this possible, Artprice needed a unique and exceptional authorization to cross the frontier of the Chinese Internet. The resulting fluidity of information has generated an online commerce of artworks, via WeChat1, across national borders, a platform that the Chinese are familiar with, especially for luxury purchases.

In 2017 Artprice had already anticipated a massive proliferation in the flow of information and a massive expansion of the art market’s clientele by making its data available to the smartphones (much of it free of charge) of anyone interested in art. This evolution is at the very core of a strategy designed to turn the art market into a demand driven online market, without the intervention of intermediaries.

However for a real revolution to take place, raw information is not enough; it also requires analytical tools. This is the need to which Artprice has crucially responded, creating numerous equally accessible indices that allow an understanding of the art market from a variety of different angles.

Understanding the art market is no longer reserved for specialists and experts. In short, it has been demystified.

The last hurdle to jump is that of the existing monopoly on visibility: to do this Ehrmann and his teams have decided to feed global data from the art market to all journalists and media around the world. This new project was initiated by a deal signed on 26 December 2018 between Artprice and the 120-year press mogul Cision to create the world’s first press agency dedicated to the art market: Art Press Agency. The ‘Access-to-Information’ revolution that this deal represents is shaking the foundations of the existing system: the various different art markets, be they supply or demand, global or local, are now all in competition.

FROM A HEGEMONIC ‘GLOBAL’ ART MARKET TO A ‘PLURALISTIC’ ART MARKET COMPETING ON EQUAL TERMS

And so… Artprice’s initiatives, along with Artron and Cision, are founded on the perception and acknowledgement of the ‘real’ global market, one that it is hidden behind today’s highly visible ‘global-financial’ market. Indeed, the Chinese, who currently spend the most on art, make no discrimination between the various artistic currents. They consume ultra high-end art, well above the million-dollar threshold, including conceptual art validated in New York, as well as art created by artists with purely aesthetic concerns in the long tradition of art history (particularly their own). Indeed, the Chinese market is today far more geopolitically representative of the true diversity of art in the world than the New York marketplace.

The ‘global-financial’ art that has established itself as the reference since the collapse of the Soviet Union has lost its power to provoke and surprise, despite its astronomical prices. The idea of ‘global culture and art’ as a historical fatality has been questioned by many countries for a decade. Global Kitsch art now looks like the last metamorphosis of a 20th century utopia that imagined the art of the future as being homogeneous and the same for everyone on the whole planet.

This utopic vision, which appears to have emerged alongside the proclamation of ‘socialist, international and communist realist art’, nowadays appears to be confronted with the latest incarnation of ‘global, international and financial conceptual art’… two sides of the same coin that reduces the world to an economic materialism supposed to explain everything.

(1) Artprice is one of the only Western companies to own a WeChat site (WeChat is reserved for companies operating under Chinese law) that reaches more than 1.8 billion Chinese Internet users worldwide.

See article (French only) on contrepoints.org: https://www.contrepoints.org/2019/01/10/334255-__trashed-5

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About Artprice:

Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.

Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2018/10/bio-2019-whos-who-thierry-ehrmann.pdf ).

Dicover Artprice in video: https://www.artprice.com/video

Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.

Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications. For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2017 published last March 2018: https://www.artprice.com/artprice-reports/the-art-market-in-2017

Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.

About the Artron Group:

“Artron Art Group (Artron), a comprehensive cultural industrial group founded in 1993 by Wan jie, is committed to inheriting, enhancing and spreading art value. Based on abundant art data, Artron provides art industry and art fans with professional service and experience of quality products by integrated application of IT, advanced digital science and innovative crafts and materials. Having produced more than 60,000 books and auction catalogues, Artron is the world’s largest art book printer with a total print volume of 300 million a year. It has more than 3 million professional members in the arts sector and an average of 15 million daily visits, making it the world’s leading art website.”

Artron’s Web: www.Artron.net

Artprice’s Contemporary Art Market Annual Report for 2017 – free access at: https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2017

Artprice’s press releases:

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Artprice: the Top 20 female artists in the global Art Market during 2018

2019/01/07 Commentaires fermés

Artprice: the Top 20 female artists in the global Art Market during 2018

Although women account for half of the world’s population (and therefore half of the world’s intelligence, sensitivity and inspiration…), they are still substantially under-represented on the global Art Market. Looking back, women did not become a regular part of art history’s narrative until the end of the 19th century. However, today’s secondary art market is still largely dominated by men.

According to Artprice’s founder/CEO thierry Ehrmann, “the generation now imposing itself on the secondary market – that of artists under 40 – is fortunately closing the gender gap”. In 2018, the Top 5 artists (by auction turnover) born after 1978 include three women. This highly symbolic transformation of the market is being accompanied by an increasing recognition of major female signatures who are gradually being admitted into the Pantheon of the high-end Art Market, with big-number results in auction rooms.

Top 20 Female Artists by Auction Turnover in 2018

© Artprice.com

1. Yayoi Kusama (1929-)

Auction turnover: $102,532,176

The top selling female artist in the global Art Market – all periods of creation combined – is none other than an 89-year-old Japanese woman who has spent 40 years living in a psychiatric hospital. A key figure in 20th-century art with her obsessive creative practices, Yayoi Kusama’s work is in many respects close to Art Brut.

Moreover, this is the fourth consecutive year in which Kusama has generated the highest annual auction turnover for a female artist in the world. In 2018, twenty-one of her works fetched sums above the million-dollar threshold worldwide: fifteen in Hong Kong, three in New York, two in London and one in Seoul.

2. Joan Mitchell (1926-1992)

Auction turnover: $83,925,120

On 1 May 2018 the David Zwirner Gallery announced publicly that it now has exclusive representation rights with the Joan Mitchell Foundation. A first solo exhibition of the artist is scheduled in New York in 2019, but the Market has already reacted very positively. On 17 May 2018, her Blueberry (1969) buried its estimate of $5-7 million when it fetched $16.6 million at Christie’s in New York, setting a new auction record for the American artist.

3. Georgia O’Keeffe (1887-1986)

Auction turnover: $66,666,700

4. Cecily Brown (1969-)

Auction turnover: $32,480,908

Following a remarkable performance in 2017, the English artist Cecily Brown emerged as one of the major figures of the Contemporary Art Market in 2018. On 16 May, her painting Suddenly Last Summer (1999) fetched $6,776,200 at Sotheby’s New York, setting an impressive new record. The canvas, originally acquired from the Gagosian in 2000, was sold in May 2010 for $1,082,500, at Sotheby’s New York. Since then its value has multiplied by six in just eight years.

5. Louise Bourgeois (1911-2010)

Auction turnover: $24,616,761

6. Barbara Hepworth (1903-1975)

Auction turnover: $19,947,414

7. Agnes Martin (1912-2004)

Auction turnover: $17,208,649

8. Tamara De Lempicka (1898-1980)

Auction turnover: $16,382,986

9. Jenny Saville (1970-)

Auction turnover: $13,225,583

British artists are definitely in vogue on the Art Market. Jenny Saville (known for her participation in the Young British Artists movement) is today the most expensive living female artist in the world. A few months after David Hockney earned the same title in the male artists category, Saville saw her Propped (1992) acquired for $12.5 million at Sotheby’s in London. The price of her works has a lot to do with scarcity of supply: only 41 paintings by Jenny Saville have been auctioned in 20 years.

10. Mary CASSATT (1844-1926)

Auction turnover: $10,317,602

11. Maria Elena VIEIRA DA SILVA (1908-1992)

Auction turnover: $7,707,244

12. Bridget RILEY (1931-)

Auction turnover: $7,103,990

13. Camille CLAUDEL (1864-1943)

Auction turnover: $6,996,741

14. Cindy SHERMAN (1954-)

Auction turnover: $6,755,382

15. Elizabeth PEYTON (1965-)

Auction turnover: $6,123,286

16. Elisabeth FRINK (1930-1993)

Auction turnover: $4,390,860

17. Christine AY TJOE (1973-)

Auction turnover: $3,989,020

In 2018 the Indonesian artist Christine Ay Tjoe continued her ascent with 13 lots sold at auction and no unsolds. Since 2008, her price index has risen +1,200%.

Artprice ‘s price index for Christine Ay Tjoe

Artprice's price index for Christine Ay Tjoe

Artprice’s price index for Christine Ay Tjoe

18. Niki DE SAINT-Phalle (1930-2002)

Auction turnover: $3,966,458

19. Njideka Akunyili CROSBY (1983-)

Auction turnover: $3,868,973

The great revelation of the year 2017, Njideka Akunyili Crosby, has just finished twelve reassuring months on the auction market. Three paintings and a drawing were sold, either within or above the pre-sale estimates. The decline in supply is also good news as it suggests collectors do not expect a drop in her prices. This situation is ideal for the young painter who saw the prices of her paintings rocket after her exhibition at the Victoria Miro gallery in London in October 2016.

20. Louise NEVELSON (1899-1988)

Auction turnover: $3,845,112

 

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Copyright ©2019 thierry Ehrmann – www.artprice.com

 

About Artprice:

Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.

Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2018/10/bio-2019-whos-who-thierry-ehrmann.pdf ).

Dicover Artprice in video: https://www.artprice.com/video

Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.

Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications. For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2017 published last March 2018: https://www.artprice.com/artprice-reports/the-art-market-in-2017

Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.

About the Artron Group:

“Artron Art Group (Artron), a comprehensive cultural industrial group founded in 1993 by Wan jie, is committed to inheriting, enhancing and spreading art value. Based on abundant art data, Artron provides art industry and art fans with professional service and experience of quality products by integrated application of IT, advanced digital science and innovative crafts and materials. Having produced more than 60,000 books and auction catalogues, Artron is the world’s largest art book printer with a total print volume of 300 million a year. It has more than 3 million professional members in the arts sector and an average of 15 million daily visits, making it the world’s leading art website.”

Artron’s Web: www.Artron.net

Artprice’s Contemporary Art Market Annual Report for 2017 – free access at: https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2017

Artprice’s press releases:

http://serveur.serveur.com/Press_Release/pressreleaseen.htm

https://twitter.com/artpricedotcom

Artmarket News:

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https://www.facebook.com/artpricedotcom 3.4 million subscribers

http://artmarketinsight.wordpress.com/

Discover the Alchemy and the universe of Artprice http://web.artprice.com/video, which headquarters are the famous Museum of Contemporary Art, the Abode of Chaos:

http://goo.gl/zJssd

https://vimeo.com/124643720

The Contemporary Art Museum The Abode of Chaos

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Artprice (New York): Top bracket artworks for sale at the beginning of 2019

2019/01/03 Commentaires fermés

Artprice (New York): Top bracket artworks for sale at the beginning of 2019

No respite for art lovers! The new year has already begun, with French provincial sales throwing up superb treasures… The auction calendar will resume back in New York with Christie’s starting 2019 with five sales, including a highly anticipated Art Brut sale. But it is Sotheby’s which gathered the most expensive lots for the very first big sale of the year: Master Paintings Evening Sale, that will be held on 30 January 2019.

Top 10 upcoming artworks at auction in January 2019

© Artprice.com

Artist Artwork Estimate Sale
1 Joachim WTEWAEL (c.1566-c.1638) A Banquet of the Gods $5,000,000 – $7,000,000 01.30.2019 – Sotheby’s NY
2 Elisabeth VIGE-LEBRUN (1755-1842) Portrait of Muhammad Dervish Khan (1788) $4,000,000 – $6,000,000 02.30.2019 – Sotheby’s NY
3 Jan VAN DE CAPPELLE (c.1624-1679) A Shipping Scene on a Calm Sea $4,000,000 – $6,000,000 03.30.2019 – Sotheby’s NY
4 Ambrosius BOSSCHAERT I (1573-1621) A Still Life of Flowers in a Glass Flask (1607) $2,500,000 – $3,500,000 04.30.2019 – Sotheby’s NY
5 Peter Paul RUBENS (1577-1640) Nude Study of a Young Man $2,500,000 – $3,500,000 05.30.2019 – Sotheby’s NY
6 Orazio GENTILESCHI (1563-1639) The Fall of the Rebel Angels $2,500,000 – $3,500,000 06.30.2019 – Sotheby’s NY
7 Pieter BRUEGHEL II (c.1564-1637/38) St. George’s Kermis (1627) $2,000,000 – $3,000,000 07.30.2019 – Sotheby’s NY
8 Fede GALIZIA (1578-1630) A Glass Compote with Peaches $2,000,000 – $3,000,000 08.30.2019 – Sotheby’s NY
9 Jacobus VREL (c.1630-c.1680) Street Scene with Two Figures Walking Away $1,500,000 – $2,000,000 09.30.2019 – Sotheby’s NY
10 Luis MELENDEZ (1716-1780) Still Life with a Plate of Azaroles $1,500,000 – $2,000,000 10.30.2019 – Sotheby’s NY

Nevertheless, the most exciting lots are not necessarily the most expensive ones. thierry Ehrmann, Founder and CEO of Artprice insists : “The mid-range Art Market is full of opportunities and it is worth keeping track of what is on offer as soon as the year begins…”

The unique world of Henry Darger

Henry Darger (1892-1973) created an exceptionally broad spectrum œuvre that was discovered in his room after his death. A secretive and reclusive character, Darger created a unique world, including a 15,000-page illustrated and typed manuscript, The Realms of the Unreal, describing events from a completely imaginary world in which a bunch of pre-teen girls (the Vivian Girls) on an imaginary planet wage a war against adults to obtain their freedom. Parallel to this written saga (but never published), Darger also painted. He produced – sometimes on both sides – large narrative panels that are pure masterpieces. His technique was also unique, drawing inspiration from a variety of sources (children’s art books, various magazines, fashion catalogs, etc.) copying the images in charcoal before applying water colours.

The first Darger works sold on the secondary market were actually auctioned in France at Loudmer’s in 1989. At that time, a panoramic drawing by the obscure celebrity fetched less than $10,000. Today, his drawings are in the collections of major museums including the MoMA, the Art Institute of Chicago, the Museum of Modern Art of the City of Paris and the Collection de l’Art Brut in Lausanne. On the auction market one would expect to pay at least $150,000 for one of his most important works because they are both in-demand and rare. The one proposed by Christie’s on 18 January in New York is monumental – nearly three meters wide – and double-sided (drawn on both sides). It is expected to fetch between $250,000 and $500,000. Two days later, Sotheby’s will, in turn, sell a smaller double-sided drawing by Henry Darger (178-cm long) with an estimate value between $150,000 and $300,000. The simultaneousness of these two upcoming sales is noticeable, as only 19 drawings by Henry Darger have been seen in auction room since 1989.

The opulence of a small masterpiece by Wtewael

Jumping back over 400 hundred years… we have a superb baroque painting on copper entitled Banquet of the Gods by the Dutch painter Joachim Anthonisz Wtewael, one of Holland’s most important artists, active in the years 1580 – 1620. This masterful work depicts 47 figures – gods, fauns, women and putti – in orgiastic debauchery… all within the confines of 15.8 x 20.4 cm. With unmatched density, the artist portrays Bacchus, Ceres, Mars, Venus, Cupid, Pan and his muses at a grand banquet, and despite its small size, the work is expected to sell for between 5 and 7 million dollars on 30 January at Sotheby’s (New York). However, in view of its quality, it is quite possible the lot will reach its high estimate, especially since a smaller Wtewael work has already crossed the $7 million threshold. That was also an oil-on-copper measuring just 18.2 x 13.5 cm, a virtuoso composition depicting 12 bodies on the sensual theme of Mars and Venus surprised by Vulcan (Mars and Venus Surprised by Vulcan, $7.26m, at Christie’s London in 2012).

One of Rubens’ best drawings

Sotheby’s will also be offering an exquisitely rare drawing by Rubens which should fetch the Dutch virtuoso’s second best-ever auction result for a work on paper. It’s a study of a young man with arms raised measuring almost 50 centimeters, drawn in charcoal with a couple of white chalk highlights to catch the light. The work shows the artist’s change of mind regarding the position of the tensed and muscular legs. The torsion of the lower limbs and the momentum of the figure, forward and upward, is typical Baroque bravura. A result within the estimated range of $2.5 – $3.5 million would make it the second best-ever auction result for a Rubens drawing (and the best result for a Rubens charcoal). On 10 July 2014, Christie’s London hammered his best-ever result for a work on paper – an ink representing Samson and Delilah – at over $5.5 million.

Apart from the provincial sales in France and the year’s first New York sessions at Christie’s and Sotheby’s, we don’t yet know what other wonders the other major auction houses around the world will be offering over the coming months (China’s Poly Auction and China Guardian, Germany’s Dorotheum, France’s Artcurial, Korea’s Seoul Auction). In fact, the majority of auction operators do not start selling until later in the year, and some wait as long as May (Grisebach) before reopening after the winter break.

Copyright ©2019 thierry Ehrmann – www.artprice.com

About Artprice:

Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2018/10/bio-2019-whos-who-thierry-ehrmann.pdf ).

Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.

Dicover Artprice in video: https://www.artprice.com/video

Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.

Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications. For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2017 published last March 2018: https://www.artprice.com/artprice-reports/the-art-market-in-2017

Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.

About the Artron Group:

“Artron Art Group (Artron), a comprehensive cultural industrial group founded in 1993 by Wan jie, is committed to inheriting, enhancing and spreading art value. Based on abundant art data, Artron provides art industry and art fans with professional service and experience of quality products by integrated application of IT, advanced digital science and innovative crafts and materials. Having produced more than 60,000 books and auction catalogues, Artron is the world’s largest art book printer with a total print volume of 300 million a year. It has more than 3 million professional members in the arts sector and an average of 15 million daily visits, making it the world’s leading art website.”

Artron’s Web: www.Artron.net

Artprice’s Contemporary Art Market Annual Report for 2017 – free access at: https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2017

Artprice’s press releases:

http://serveur.serveur.com/Press_Release/pressreleaseen.htm

https://twitter.com/artpricedotcom

Artmarket News:

https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom

https://www.facebook.com/artpricedotcom 3.4 million subscribers

http://artmarketinsight.wordpress.com/

Discover the Alchemy and the universe of Artprice http://web.artprice.com/video, which headquarters are the famous Museum of Contemporary Art, the Abode of Chaos:

http://goo.gl/zJssd

https://vimeo.com/124643720

The Contemporary Art Museum The Abode of Chaos

https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999 3.4 million subscribers

Contact: ir@artprice.com

Ce 1er janvier 2019 Artprice est accessible pour ses nouveaux clients chinois via Artron.net le site d’art le plus consulté au monde

2019/01/02 Commentaires fermés

2019 commence de la meilleure des façons pour Artprice et ses actionnaires ! Comme prévu notre partenaire institutionnel chinois Artron a déployé sur sa home page principale www.artron.net à l’heure près le logo artprice.com et l’accès immédiat à nos abonnements haut de gamme.

Artprice est donc une des très rares sociétés occidentales à être accessible à ce jour depuis la Chine au cœur de l’Internet chinois.

Pour rappel, Artron.net enregistre plus de 5.4 milliards de visites par an et compte 3 millions de membres professionnels, qui sont le cœur de cible d’Artprice. Voir le lien

Artron-Artprice screenshot

Artron-Artprice screenshot

https://zh.artprice.com/artron

thierry Ehrmann : « Nous avons franchi tous les obstacles, nous voici installés en Chine ! Je remercie Artron et son Président Wan Jie qui nous a ouvert les portes. »

Le Président fondateur d’Artron Wan Jie déclare : « Nous partageons une vision commune et un sens de la perfection. Notre coopération qui a 9 ans va devenir une référence dans l’Histoire de l’Art mondial. 2019 sera un résultat économique exceptionnel pour nos deux groupes. »

thierry Ehrmann : « Très bonne année 2019 à nos fidèles actionnaires ! »

Très bonne année 2019 à nos fidèles actionnaires ! »

Au sujet d’Artron :

« Artron Art Group (Artron) présidé par son Fondateur Mr Wan Jie est un vaste groupe de l’industrie culturelle qui s’est engagé à hériter, à améliorer et à diffuser la valeur de l’art. Sur les bases de données artistiques abondantes, Artron fournit aux professionnels de l’industrie de l’art et aux amateurs d’art un service professionnel et une expérience de produits de qualité grâce à des applications informatiques intégrées, une science numérique avancée et des matériaux et métiers innovants.

Artron est le plus grand imprimeur de livres d’art au monde, avec plus de 60 000 livres et catalogues de vente aux enchères et un volume de publication total de 300 millions par an. Artron.net est la marque la plus respectée du monde de l’art chinois. Artron.net compte plus de 3 millions de membres professionnels dans le secteur des arts et 15 millions de visites quotidiennes en moyenne, ce qui en fait le premier site Web d’art mondial. C’est le premier choix des professionnels de l’art, des investisseurs et des adeptes d’entrer dans le monde de l’art. Artron fête ses 25 ans. Fondé en 1993, Artron Art Group fête cette année ses 25 ans. »

A propos d’Artprice :

Artprice est cotée sur Eurolist by Euronext Paris, SRD long only et Euroclear : 7478 – Bloomberg : PRC – Reuters : ARTF.

Découvrir Artprice en vidéo : https://fr.artprice.com/video

Artprice fut fondée en 1997 par thierry Ehrmann qui est son PDG. Artprice est auto-contrôlée par le Groupe Serveur créé en 1987. Voir biographie certifiée de Who’s who © :

https://imgpublic.artprice.com/img/wp/sites/11/2018/10/bio-2019-whos-who-thierry-ehrmann.pdf

Artprice est le Leader mondial des banques de données sur la cotation et les indices de l’Art avec plus de 30 millions d’indices et résultats de ventes couvrant plus de 700 000 Artistes. Artprice Images® permet un accès illimité au plus grand fonds du Marché de l’Art au monde, bibliothèque constituée de 126 millions d’images ou gravures d’oeuvres d’Art de 1700 à nos jours commentées par ses historiens.

Artprice enrichit en permanence ses banques de données en provenance de 6300 Maisons de Ventes et publie en continu les tendances du Marché de l’Art pour les principales agences et 7200 titres de presse dans le monde. Artprice met à la disposition de ses 4,5 millions de membres (members log in), les annonces déposées par ses Membres, qui constituent désormais la première Place de Marché Normalisée® mondiale pour acheter et vendre des oeuvres d’Art à prix fixe ou aux enchères (enchères réglementées par les alinéas 2 et 3 de l’article L 321.3 du Code du Commerce).

Artprice, labellisée par le BPI pour la deuxième fois en novembre 2018, développe son projet de Blockchain sur le Marché de l’Art.

Bilan S1 2018 Mondial du Marché de l’Art, par Artprice en ligne sur :

https://fr.artprice.com/artprice-reports/bilan-du-marche-de-lart-s1-2018-par-artprice-com

Le Rapport Annuel Artprice du Marché de l’Art mondial 2017 publié en mars 2018 :

https://fr.artprice.com/artprice-reports/le-marche-de-lart-en-2017

Le Rapport du Marché de l’Art Contemporain 2018 d’Artprice :

https://fr.artprice.com/artprice-reports/le-marche-de-lart-contemporain-2018

Sommaire des communiqués d’Artprice :

http://serveur.serveur.com/press_release/pressreleasefr.htm

https://twitter.com/artpricedotcom

Suivre en temps réel toute l’actualité du Marché de l’Art avec Artprice sur Facebook, Google+ Twitter :

https://www.facebook.com/artpricedotcom 3,4 millions d’abonnés

https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom

https://plus.google.com/+Artpricedotcom/posts

http://artmarketinsight.wordpress.com/

Découvrir l’alchimie et l’univers d’Artprice http://web.artprice.com/video dont le siège social est le célèbre Musée d’art contemporain Abode of Chaos dixit The New York Times / La Demeure du Chaos: https://issuu.com/demeureduchaos/docs/demeureduchaos-abodeofchaos-opus-ix-1999-2013

https://vimeo.com/124643720

Musée d’Art Contemporain siège social d’Artprice :

https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999

(3,5 millions d’abonnés)

Contact ir@artprice.com

As of today, 1 January 2019, Artprice is accessible to new Chinese customers via Artron.net, the most visited art website in the world.

2019/01/02 Commentaires fermés

The year is beginning in excellent circumstances for Artprice and its shareholders! As planned, Artron, our Chinese institutional partner, has posted the artprice.com logo on the principal home page of its Chinese website artron.net, giving immediate access to our high-end subscriptions.

Artron-Artprice screenshot

Artron-Artprice screenshot

https://zh.artprice.com/artron

Artprice is currently one of the very few Western companies to be accessible from inside China and its gated Internet system.

Artron.net receives more than 5.4 billion visits per year and has 3 million professional members who correspond to Artprice’s primary target clientele.

“We have overcome all the obstacles, and here we are in China! I thank Artron and President Wan Jie who opened the doors for us.” says thierry Ehrmann, Artprice’s founder/CEO.

And from Artron’s side, its founding President Wan Jie says “We share a common vision and a common sense of perfection. Our nine years of cooperation have resulted in a game changer for the history of the global Art Market and we are both looking forward to exceptional economic results in 2019.”

Artprice would like to wish its loyal shareholders a very Happy & Prosperous New Year!

About Artprice:

Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2018/10/bio-2019-whos-who-thierry-ehrmann.pdf ).

Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.

Dicover Artprice in video: https://www.artprice.com/video

Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.

Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications. For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2017 published last March 2018: https://www.artprice.com/artprice-reports/the-art-market-in-2017

Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.

About the Artron Group:

“Artron Art Group (Artron), a comprehensive cultural industrial group founded in 1993 by Wan jie, is committed to inheriting, enhancing and spreading art value. Based on abundant art data, Artron provides art industry and art fans with professional service and experience of quality products by integrated application of IT, advanced digital science and innovative crafts and materials. Having produced more than 60,000 books and auction catalogues, Artron is the world’s largest art book printer with a total print volume of 300 million a year. It has more than 3 million professional members in the arts sector and an average of 15 million daily visits, making it the world’s leading art website. Founded in 1993by Wan Jie, the Artron Art Group is celebrating its 25th anniversary this year. It is the first choice for art professionals, investors, collectors and art fans in general wishing to discover and/or participate in the art world or the art market. Founded in 1993, Artron Art Group is celebrating its 25th anniversary this year.”

Artron’s Web: www.Artron.net

Artprice’s Contemporary Art Market Annual Report for 2017 – free access at: https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2017

Artprice’s press releases:

http://serveur.serveur.com/Press_Release/pressreleaseen.htm

https://twitter.com/artpricedotcom

Artmarket News:

https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom

https://www.facebook.com/artpricedotcom 3.4 million subscribers

http://artmarketinsight.wordpress.com/

Discover the Alchemy and the universe of Artprice http://web.artprice.com/video, which headquarters are the famous Museum of Contemporary Art, the Abode of Chaos:

http://goo.gl/zJssd

https://vimeo.com/124643720

The Contemporary Art Museum The Abode of Chaos

https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999 3.4 million subscribers

Contact: ir@artprice.com

The year 2019 is starting with very positive news for Artprice’s future… and the news takes effect as of 1 January 2019.

2019/01/02 Commentaires fermés

According to thierry Ehrmann Founder and CEO of Artprice: “For multiple reasons, 2019 is commencing with an excellent outlook for Artprice and its loyal shareholders over the last 21 years”.

The first exceptionally positive news is our penetration of the Chinese Art Market with its huge potential to generate new customers for Artprice. This move will substantially boost our sales turnover via the sale of Artprice subscriptions offered in China as of 1 January 2019 via Artron.net, our institutional partner. Artron is widely recognised as the most powerful actor on the Chinese Art Market.

The second positive news is that a week ago Artprice signed a deal with the most powerful press network in the world that will project Artprice’s hot market news to 1.8 billion people on a weekly basis.

This exceptional partnership has been concluded with the world’s leading newswire, Cision (PR NEWSWIRE). Cision’s software allows users to identify key influencers, craft and distribute strategic content, and measure meaningful impact (see Cision’s official press release Artprice and Cision Enter Distribution Partnership at https://www.prnewswire.com/news-releases/artprice-and-cision-enter-distribution-partnership-300770437.html (Cision is listed on the NYSE, code CISN).

This partnership will allow Artprice to project highly pertinent Art Market News and Information on a weekly basis. Cision’s electronic newswire will communicate all of Artprice’s unique market indices… the Artprice100®, the Artprice Global Index®, the AMCI®, etc… in real time.

By reaching more than 1.8 billion targeted people in 19 languages on 5 continents (representing 90% of the world’s GDP), this move unquestionably strengthens Artprice’s position as World Leader in Art Market Information.

Thanks to this massive news & info distribution agreement, Artprice will project its unique know-how and understanding of the Art Market, reaching new art fans, collectors and professionals whose geographical location previously hindered an economical distribution of the Artprice brand and its databases.

This obstacle has now been eliminated, allowing Artprice to be the ‘glocal’ reference for the Art Market. (‘Glocal’ is a combination of two words: global and local. It is often used to indicate a global marketing strategy with local relays. Hence the dictum “Think global, act local”).

Artprice was the global leader… but there were still a number of ‘local’ economic ‘white zones’.

As of 1 January 2019, Artprice, with its loyal institutional partner Artron, will irrigate the 34 divisions / provinces of the People’s Republic of China with its paid databank content.

With Cision, no territory – whatever the continent – will escape Artprice… now a truly ‘Glocal’ and unique reference for the Art Market.

In short, with Cision, Artprice has become unavoidable at the global level for all matters relating to the Art Market because Cision has the world’s largest and most reliable press release network that can identify key influencers. Art Press Agency® and Artmarket.com is now the world’s leading art press agency dedicated to the Art Market.

About Cision :

Cision Ltd. (NYSE: CISN) is a leading global provider of earned media software and services to public relations and marketing communications professionals. Cision’s software allows users to identify key influencers, craft and distribute strategic content, and measure meaningful impact. Cision has over 4,000 employees with offices in 19 countries throughout the Americas, EMEA, and APAC. For more information about its award-winning products and services, including the Cision Communications Cloud®

About Artprice:

Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2018/10/bio-2019-whos-who-thierry-ehrmann.pdf ).

Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.

Dicover Artprice in video: https://www.artprice.com/video

Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.

Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications. For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2017 published last March 2018: https://www.artprice.com/artprice-reports/the-art-market-in-2017

Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.

About the Artron Group:

“Artron Art Group (Artron), a comprehensive cultural industrial group founded in 1993 by Wan jie, is committed to inheriting, enhancing and spreading art value. Based on abundant art data, Artron provides art industry and art fans with professional service and experience of quality products by integrated application of IT, advanced digital science and innovative crafts and materials. Having produced more than 60,000 books and auction catalogues, Artron is the world’s largest art book printer with a total print volume of 300 million a year. It has more than 3 million professional members in the arts sector and an average of 15 million daily visits, making it the world’s leading art website. Founded in 1993by Wan Jie, the Artron Art Group is celebrating its 25th anniversary this year. It is the first choice for art professionals, investors, collectors and art fans in general wishing to discover and/or participate in the art world or the art market. Founded in 1993, Artron Art Group is celebrating its 25th anniversary this year.”

Artron’s Web: www.Artron.net

Artprice’s Contemporary Art Market Annual Report for 2017 – free access at: https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2017

Artprice’s press releases:

http://serveur.serveur.com/Press_Release/pressreleaseen.htm

https://twitter.com/artpricedotcom

Artmarket News:

https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom

https://www.facebook.com/artpricedotcom 3.4 million subscribers

http://artmarketinsight.wordpress.com/

Discover the Alchemy and the universe of Artprice http://web.artprice.com/video, which headquarters are the famous Museum of Contemporary Art, the Abode of Chaos:

http://goo.gl/zJssd

https://vimeo.com/124643720

The Contemporary Art Museum The Abode of Chaos

https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999 3.4 million subscribers

Contact: ir@artprice.com

Artprice et Cision donnent naissance à la première agence de presse mondiale dédiée au Marché de l’Art

2018/12/21 Commentaires fermés

Artprice se doit d’informer le marché du communiqué à venir de CISION (CISN cotée au NYSE).

Dès aujourd’hui Artprice et Cision donnent ainsi naissance à la première agence de presse dédiée à l’information sur le Marché de l’Art : Artpress agency ® dont Artprice est le Leader mondial.

Depuis 120 ans Cision a bâti peu à peu un réseau mondial de diffusion d’informations reconnu par plus de 100 000 clients notoirement connus sur les marchés financiers.

Cision est le Leader mondial du logiciel de RP & Influence et de la recherche média.

Avec sa base de données de 1.6 million de journalistes et de médias, Cision diffuse sur l’ensemble des 5 continents sans aucune exception une information qualitative.

Le présent communiqué a été validé par les deux groupes et sera publié nativement en anglais par CISION USA.

En voici la traduction française:

PARIS (21 déc. 2018) – Artprice, société du groupe Serveur ®, pionnier de l’internet depuis 1985 en Europe, et Cision® sont heureux d’annoncer leur partenariat unique au monde pour la distribution de fils d’informations. Ce partenariat fait de Cision le distributeur officiel d’informations et de contenus du Leader mondial de l’information sur le Marché de l’Art.

Le partenariat stratégique désigne Cision en tant que seul fournisseur de services de distribution d’informations sur les tendances du Marché de l’Art pour les principales agences de médias d’aujourd’hui, comprenant environ 7 200 publications de presse internationale.

L’accord est le résultat direct d’une longue relation qui s’étend sur deux décennies entre Artprice et Cision, deux leaders puissants sur leur marché respectif.

Artprice est le leader mondial des banques de données sur le prix et l’indice de l’art. Il a plus de 30 millions d’indices et de résultats d’enchères. Artprice Images® donne un accès illimité à la plus grande ressource du Marché de l’Art au monde: une bibliothèque de 126 millions d’images ou de gravures d’œuvres d’art allant de 1700 à nos jours, ainsi que des commentaires des Historiens de l’Art d’Artprice.

«Nous sommes très fiers de fournir les meilleures informations mondiales relatives au Marché de l’Art, telles que des résultats de ventes aux enchères, des indices couvrant plus de 700 000 artistes, des événements majeurs et des ouvertures de musées sur les cinq continents», a déclaré thierry Ehrmann, fondateur et directeur d’Artprice.

«Le fil de presse de Cision dépasse la norme de l’industrie en matière de diffusion d’informations telle que révélée par notre audit; Il permet à Artprice d’atteindre son marché, qui représente environ 90 millions d’acheteurs et de collectionneurs dans le monde, grâce à une distribution fiable et rapide, atteignant les profondeurs de son public.

Ce 21 décembre 2018, Artprice et Cision donnent ainsi naissance à la toute première agence mondiale dédiée au Marché de l’Art, Art Press Agency ® appartenant à Artprice. Elle bénéficiera pour cela du savoir-faire de 21 ans d’artmarketinsight. »

Cision s’est démarqué parmi ses concurrents en termes de partenariat en dépassant les services clients et en fournissant un service de dépêche unique en termes de diffusion et de contenu. La distribution mondiale était essentielle pour Artprice, avec une attention particulière en France, aux USA, en Europe et en Chine, où Artprice est associée au Leader chinois du Marché de l’Art, son fidèle partenaire institutionnel Artron.net, afin de renforcer sa présence sur le Marché international de l’Art.

Le partenariat étendra la portée et l’impact d’Artprice dans la mesure où son concept économique et financier l’Industrie Muséale ®», un programme mondial de soutien à l’ouverture des Musées, est désormais active sur cinq continents.

«Les récents investissements technologiques de Cision ont renforcé notre position de partenaire de choix pour la distribution d’informations», a déclaré Frédéric Dumas, vice-président des ventes, Cision, France. «Nous travaillons avec les marques les plus respectées et, depuis maintenant vingt ans que nous travaillons pour Artprice dans le monde entier, nous développons notre engagement sans faille pour assurer un public pertinent pour le contenu Artprice.»

A propos de Cision :

Cision Ltd. (NYSE: CISN) est un fournisseur mondial de premier plan de logiciels et de services multimédias destinés aux professionnels des relations publiques et de la communication marketing. Le logiciel de Cision permet aux utilisateurs d’identifier les influenceurs clés, de créer et de distribuer du contenu stratégique et de mesurer un impact significatif. Cision emploie plus de 4 000 personnes et possède des bureaux dans 19 pays des Amériques, EMEA et APAC. Pour plus d’informations sur ses produits et services primés, notamment le logiciel Cision Communications Cloud®, visitez le site www.cision.com et suivez Cision sur Twitter @Cision.

A propos d’Artprice :

Artprice est cotée sur Eurolist by Euronext Paris, SRD long only et Euroclear : 7478 – Bloomberg : PRC – Reuters : ARTF.

Découvrir Artprice en vidéo : https://fr.artprice.com/video

Artprice fut fondée en 1997 par thierry Ehrmann qui est son PDG. Artprice est auto-contrôlée par le Groupe Serveur créé en 1987. Voir biographie certifiée de Who’s who © :

https://imgpublic.artprice.com/img/wp/sites/11/2018/10/bio-2019-whos-who-thierry-ehrmann.pdf

Artprice est le Leader mondial des banques de données sur la cotation et les indices de l’Art avec plus de 30 millions d’indices et résultats de ventes couvrant plus de 700 000 Artistes. Artprice Images® permet un accès illimité au plus grand fonds du Marché de l’Art au monde, bibliothèque constituée de 126 millions d’images ou gravures d’oeuvres d’Art de 1700 à nos jours commentées par ses historiens.

Artprice enrichit en permanence ses banques de données en provenance de 6300 Maisons de Ventes et publie en continu les tendances du Marché de l’Art pour les principales agences et 7200 titres de presse dans le monde. Artprice met à la disposition de ses 4,5 millions de membres (members log in), les annonces déposées par ses Membres, qui constituent désormais la première Place de Marché Normalisée® mondiale pour acheter et vendre des oeuvres d’Art à prix fixe ou aux enchères (enchères réglementées par les alinéas 2 et 3 de l’article L 321.3 du Code du Commerce).

Artprice, labellisée par le BPI pour la deuxième fois en novembre 2018, développe son projet de Blockchain sur le Marché de l’Art.

Au sujet d’Artron :

« Artron Art Group (Artron) présidé par son Fondateur Mr Wan Jie est un vaste groupe de l’industrie culturelle qui s’est engagé à hériter, à améliorer et à diffuser la valeur de l’art. Sur les bases de données artistiques abondantes, Artron fournit aux professionnels de l’industrie de l’art et aux amateurs d’art un service professionnel et une expérience de produits de qualité grâce à des applications informatiques intégrées, une science numérique avancée et des matériaux et métiers innovants.

Artron est le plus grand imprimeur de livres d’art au monde, avec plus de 60 000 livres et catalogues de vente aux enchères et un volume de publication total de 300 millions par an. Artron.net est la marque la plus respectée du monde de l’art chinois. Artron.net compte plus de 3 millions de membres professionnels dans le secteur des arts et 15 millions de visites quotidiennes en moyenne, ce qui en fait le premier site Web d’art mondial. C’est le premier choix des professionnels de l’art, des investisseurs et des adeptes d’entrer dans le monde de l’art. Artron fête ses 25 ans. Fondé en 1993, Artron Art Group fête cette année ses 25 ans. »

Bilan S1 2018 Mondial du Marché de l’Art, par Artprice en ligne sur :

https://fr.artprice.com/artprice-reports/bilan-du-marche-de-lart-s1-2018-par-artprice-com

Le Rapport Annuel Artprice du Marché de l’Art mondial 2017 publié en mars 2018 :

https://fr.artprice.com/artprice-reports/le-marche-de-lart-en-2017

Le Rapport du Marché de l’Art Contemporain 2018 d’Artprice :

https://fr.artprice.com/artprice-reports/le-marche-de-lart-contemporain-2018

Sommaire des communiqués d’Artprice :

http://serveur.serveur.com/press_release/pressreleasefr.htm

https://twitter.com/artpricedotcom

Suivre en temps réel toute l’actualité du Marché de l’Art avec Artprice sur Facebook, Google+ Twitter :

https://www.facebook.com/artpricedotcom 3,4 millions d’abonnés

https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom

https://plus.google.com/+Artpricedotcom/posts

http://artmarketinsight.wordpress.com/

Découvrir l’alchimie et l’univers d’Artprice http://web.artprice.com/video dont le siège social est le célèbre Musée d’art contemporain Abode of Chaos dixit The New York Times / La Demeure du Chaos: https://issuu.com/demeureduchaos/docs/demeureduchaos-abodeofchaos-opus-ix-1999-2013

https://vimeo.com/124643720

Musée d’Art Contemporain siège social d’Artprice :

https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999

(3,5 millions d’abonnés)

Contact ir@artprice.com

Beijing – Art Market: Artprice launches subscriptions via the Artron.net website in China on 1 January 2019

2018/12/19 Commentaires fermés

Beijing – Art Market: Artprice launches subscriptions via the Artron.net website in China on 1 January 2019

Beijing – following the mention of different dates by third parties, Artprice wishes to clarify today, December 18, that the official start date of marketing of Artprice subscriptions in China via our loyal institutional partner Artron (9 years of collaboration) is 1 January 2019 (not a holiday in China).

As of that date, Artprice will appear on Artron.net’s main home page, in next to the Artron logo, (see twitter image – source Artron):
Artprice-Artron

https://twitter.com/artpricedotcom/status/1074943649929138176

Artron.net is the world’s leading art website with 5.4 billion visits per year.

Artprice, which has its own Chinese WeChat account, notes that according to WeChat stats ‘immediate purchase’ amounts debited to the accounts (QR Code) of WeChat users are credited in real time to Artprice’s bank accounts. This is standard practice for the 988 million WeChat users in China.

To fully meet the payment requirements of Chinese Internet users, Artprice also offers an Alipay platform that it has developed, enabling it to reach 1.2 billion users worldwide who generate 300 million transactions per day. (Source Alipay – Alibaba Group)

Alipay is also a real-time payment system platform running on a QR Code system. The seller provides a Qrcode, which the buyer scans with his mobile to accept the transaction. The payment is made instantly and the invoice arrives by email or text message.

On the basis of these payment systems and Artprice’s historic new deal with Artron (with 10 agreements in principle that go way beyond the contract), combined with Artron’s core stats (at December 2018, Artron – the world’s leading art website and leading art book printer – had 3 million professional members with 5.4 billion visits per year), Artprice is anticipating a very substantial growth in sales as of 2019.

As of end January 2019, Artprice will communicate a calculated projection of its sales turnover for 2019.

Over nine years, Artprice has translated hundreds of millions of data from its data banks into Mandarin. The computer ergonomics developed by Artprice specifically for China and for smartphones is designed for mobile Internet (88% of Chinese Internet users). In June 2018, China already had no less than 1.1 billion 4G users (Source INA).

According to thierry Ehrmann, Artprice’s CEO/Founder, “As previously announced, Artron has produced several videos that highlight – beyond our financial and economic collaboration – the “cultural merger” of our two groups. This short video accurately reflects Artron’s vision of Artprice”

https://vimeo.com/305021641

Artprice’s Chairman, thierry Ehrmann, and its senior executives recently returned from several days of intense work at Artron’s headquarters in Beijing where discussions focused on accelerating and implementing, as quickly as possible, all the agreed strategic and commercial initiatives that will inevitably generate very positive results in terms of turnover and the expansion of Artprice’s client base… not to mention shareholder value.

Artron and its Chairman Wan Jie gave the Artprice team an exceptionally respectful, warm and loyal welcome and introduced Artprice to China’s top-level institutional leaders, the country’s principal Art Market players and all of Artron’s 3,500 employees.

These face-to-face introductions are an essential step in Artprice’s bid to fructify the enormous potential of the Chinese market in a fast and optimal manner. In 2018, China accounted for 45% of global online transactions, generating 12 times more online transactions than the United States. China has a huge advantage over the West because it is building its market economy directly on the Internet (Source GEAB / LEAP 2020).

Speaking in front of his senior executives and top management, Wan Jie – at the head his Artron empire and probably the most powerful player in China’s Art Market – reiterated his unfailing personal friendship and loyalty vis-à-vis Artprice’s founder-Chairman, thierry Ehrmann.

This fact deserves emphasis as Chinese custom usually prohibits such ‘departures’ from accepted business protocol.

As China has become the global Art Market’s leading marketplace over the past decade, it naturally represents a fascinating new market for Artprice.

The development of mobile internet in China has been exceptionally fast and in June 2018 the country boasted 1.1 billion 4G users. Thanks to the Chinese government’s Made in China plan, China is currently set to become the world leader in 5G technology (Source INA).

In 2017, China’s digital economy accounted for nearly 33% of national GDP. In this context, the role played by private companies as catalysts of innovation has been clearly identified as crucial to the development and growth of China’s digital economy. In short, China’s key economic and industrial actors are closely associated with the State in the transformation of China into an ‘information society’. Thus, in 2017, China’s digital economy accounted for nearly 33% of national GDP. (source INA).

copyright ©2018 thierry Ehrmann

About the Artron Group:

“Artron Art Group (Artron), a comprehensive cultural industrial group founded in 1993, is committed to inheriting, enhancing and spreading art value. Based on abundant art data, Artron provides art industry and art fans with professional service and experience of quality products by integrated application of IT, advanced digital science and innovative crafts and materials. Having produced more than 60,000 books and auction catalogues, Artron is the world’s largest art book printer with a total print volume of 300 million a year. It has more than 3 million professional members in the arts sector and an average of 15 million daily visits, making it the world’s leading art website. Founded in 1993, the Artron Art Group is celebrating its 25th anniversary this year. It is the first choice for art professionals, investors, collectors and art fans in general wishing to discover and/or participate in the art world or the art market. Founded in 1993, Artron Art Group is celebrating its 25th anniversary this year.”

According to the Artron Group and its founder-Chairman Mr. Wan Jie “After 7 years of cooperation, Artron and Artprice have optimised their cooperation regarding the Chinese and Western art markets. The founders and Chairmen of both companies, Mr. Wan Jie and Mr. Thierry Ehrmann, with their enthusiasm for art, will create a Silk Road linking the Chinese and Western art markets on the principle of respect and mutual cooperation. The two groups will build a global, diversified and professional exchange platform in the Art Market, which will ultimately promote the sustainable development of the Global Art Market.

Artron’s Web: www.artron.com.cn; www.artron.net.

Contact: 400-6690-999

About Artprice:

Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2018/10/bio-2019-whos-who-thierry-ehrmann.pdf ).

Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.

Dicover Artprice in video: https://www.artprice.com/video

Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.

12 Oct. 2018: Artprice and Artron have just created an “Art Media Mogul”:
Video: https://vimeo.com/296010836

Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications. For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label)Artprice’s Global Art Market Annual Report for 2017 published last March 2018: https://www.artprice.com/artprice-reports/the-art-market-in-2017

Artprice’s Contemporary Art Market Annual Report for 2017 – free access at: https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2017

Artprice’s press releases:

http://serveur.serveur.com/Press_Release/pressreleaseen.htm

https://twitter.com/artpricedotcom

Artmarket News:

https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom

https://www.facebook.com/artpricedotcom & https://plus.google.com/+artpricedotcom/posts

http://artmarketinsight.wordpress.com/

Discover the Alchemy and the universe of Artprice http://web.artprice.com/video, which headquarters are the famous Museum of Contemporary Art, the Abode of Chaos:

http://goo.gl/zJssd

https://vimeo.com/124643720

The Contemporary Art Museum The Abode of Chaos on Facebook: https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999

Contact: ir@artprice.com

Artprice : +4,3 % pour l’Artprice100©, artistes « blue-chips » du Marché de l’Art, dans un contexte économique fragile

2018/12/13 Commentaires fermés

Artprice : +4,3 % pour l’Artprice100©, artistes « blue-chips » du Marché de l’Art, dans un contexte économique fragile

L’indice S&P500 oscille depuis le début de l’année 2018 sans véritablement parvenir à retrouver le chemin de la croissance. Sur les 11 premiers mois, l’indice boursier américain de référence affiche une progression de +2,4 % seulement, qui semble aujourd’hui très fragile et pourrait encore faiblir au cours des prochains jours.

Selon thierry Ehrmann, président fondateur d’Artprice : « Face à cette performance, le Marché de l’Art continue de former une alternative d’investissement toujours plus séduisante. L’indice Artprice100© réalise une hausse de +4,3 % depuis le premier janvier 2018. Sans surprise, il fait bien mieux que le Marché de l’Art dans son ensemble, qui reste une valeur sûre sur le long terme mais présente une baisse de -1,9 % sur l’année 2018. Plus que jamais, les acheteurs se montrent exigeants dans leurs achats d’œuvres d’art. S’ils sont prêts à faire grimper les prix pour les œuvres exceptionnelles, de qualité et de provenance irréprochables, ils n’hésitent pas à en laisser passer beaucoup d’autres. Ce nouveau comportement est profitable aux grandes signatures, sur lesquelles se concentrent toujours plus l’offre ».

Artprice100©, Artprice global comparés avec le S&P 500

Artprice100©, Artprice global comparés avec le S&P 500

(Voir le graphe :
https://imgpublic.artprice.com/img/wp/sites/11/2018/12/2018-artprice100.png)

Principe

Collectionner les oeuvres des artistes les plus performants du Marché de l’Art constitue une stratégie d’investissement simple et systématique, qui vise à bénéficier des rendements du marché haut-de-gamme tout en maîtrisant les risques financiers. Sur base de ce principe, l’Artprice100© a été imaginé comme un portefeuille dédié aux ‘blue chips’ du Marché de l’Art ; autrement dit, un portefeuille représentatif des artistes majeurs dont les œuvres circulent abondamment. Si ce portefeuille peut s’avérer compliqué à réaliser en pratique, il présente des qualités évidentes d’un point de vue théorique. L’Artprice100© se veut un outil comparable aux indices boursiers de référence : S&P500, FTSE100, CAC 40, DAX, NIKKEI 225, etc.

La composition de l’Artprice100© est fixée au 1er janvier de chaque année, afin de refléter l’évolution progressive du Marché de l’Art. Il rassemble les cent artistes les plus performants aux enchères sur les cinq années précédentes, artistes qui répondent de surcroît à un critère essentiel de liquidité : au moins dix œuvres homogènes vendues chaque année. Ainsi, malgré un produit de ventes de 450 m$ l’an dernier, Léonard de Vinci n’intègre pas la composition du portefeuille en 2018 du à la rareté de ses œuvres dans des collections privées. Ce critère de liquidité ne diminue cependant pas en rien la domination des artistes considérés. A eux seuls en effet, les cent artistes formant l’Artprice100© pèsent 73 % du chiffre d’affaires mondial aux enchères en 2018.

L’Artprice100© bénéficie de l’alliance Artprice-Artron son puissant partenaire chinois, qui lui permet une couverture implacable de la Chine.

Composition

Six changements ont été opérés pour l’année 2018, soit deux de plus qu’il y a un an. Ce roulement relativement important (6% de la composition) traduit les rapides ajustements du Marché de l’Art aujourd’hui. La rareté des belles pièces de certains artistes peut expliquer une partie des entrées et des sorties, mais il ne fait pas de doute que l’évolution des préférences des collectionneurs sur le long terme participe aussi à ces changements. Le succès croissant de Tsuguharu Foujita et Günther Uecher auprès des collectionneurs du monde entier laisse présager une place durable pour ces deux signatures dans la composition de l’Artprice100©.

Entrée Sortie
Joseph Albers Francis Bacon
Max Beckmann Lu Yanshao
Giorgio De Chirico Agnes Martin
Tsuguharu Foujita Piet Mondrian
Paul Klee Pan Tianshou
Gunther Uecker Yu Fei’an

Trois artistes chinois (tous les trois actifs pendant la première moitié du Xxème siècle) sortent cette année du portefeuille. Il en reste cependant encore 17 en 2018 parmi les cent artistes les plus performants du marché. Par ailleurs, l’importance de Zao Wou-Ki (3ème dans le classement provisoire 2018, toutes périodes de création confondues) ne cesse de croître sur le Marché de l’Art international.

Picasso reste le poids le plus lourd de la composition (7,4 %), suivi par Warhol (6,7%), Zhang Daqian (4,7%), Qi Baishi (4,1%). Sur le long terme, la constitution de l’Artprice100 révèle par ailleurs un nombre d’artiste vivants en constante augmentation : 17 cette année, contre 12 en 2000. Gerhard Richter est le premier d’entre eux (3,3%).

Le prix des œuvres de Georg Baselitz connaît une augmentation particulièrement remarquable, à commencer par ses dessins qui ont intégré cette année les prestigieuses sessions de jour à Londres et New York. A titre d’exemple, Untitled (Lovers) (2001) a été vendu par Phillips Londres le 9 mars 2018 pour 112 500$. En novembre 2016, la même œuvre avait été acquise pour 32 500$ seulement, chez Veritas à Lisbonne. La valeur de ce dessin a donc plus que triplé en moins de deux ans, bénéficiant – entre autres – d’une bien meilleure visibilité.

Composition Artprice100© en 2018

© Artprice.com

Classement – Artiste – Poids

1 – Pablo PICASSO – 7,4%

2 – Andy WARHOL – 6,7%

3 – ZHANG Daqian – 4,7%

4 – QI Baishi – 4,1%

5 – Claude MONET – 3,7%

6 – Jean-Michel BASQUIAT – 3,6%

7 – Gerhard RICHTER – 3,3%

8 – Alberto GIACOMETTI – 2,4%

9 – FU Baoshi – 2,3%

10 – Cy TWOMBLY – 2,3%

11 – Roy LICHTENSTEIN – 2,2%

12 – ZAO Wou-Ki – 2,1%

13 – Amedeo MODIGLIANI – 2,0%

14 – WU Guanzhong – 1,9%

15 – Lucio FONTANA – 1,7%

16 – LI Keran – 1,7%

17 – Marc CHAGALL – 1,6%

18 – HUANG Binhong – 1,6%

19 – XU Beihong – 1,6%

20 – Alexander CALDER – 1,6%

Découvrez l’intégralité des 100 artistes “blue-chips” du Marché de l’Art pour l’année 2018 sur www.artprice.com

A propos d’Artprice :

Artprice est cotée sur Eurolist by Euronext Paris, SRD long only et Euroclear : 7478 – Bloomberg : PRC – Reuters : ARTF.

Découvrir Artprice en vidéo : https://fr.artprice.com/video

Artprice fut fondée en 1997 par thierry Ehrmann qui est son PDG. Artprice est auto-contrôlée par le Groupe Serveur créé en 1987. Voir biographie certifiée de Who’s who © :

https://imgpublic.artprice.com/img/wp/sites/11/2018/10/bio-2019-whos-who-thierry-ehrmann.pdf

Artprice est le Leader mondial des banques de données sur la cotation et les indices de l’Art avec plus de 30 millions d’indices et résultats de ventes couvrant plus de 700 000 Artistes. Artprice Images® permet un accès illimité au plus grand fonds du Marché de l’Art au monde, bibliothèque constituée de 126 millions d’images ou gravures d’oeuvres d’Art de 1700 à nos jours commentées par ses historiens.

Artprice enrichit en permanence ses banques de données en provenance de 6300 Maisons de Ventes et publie en continu les tendances du Marché de l’Art pour les principales agences et 7200 titres de presse dans le monde. Artprice met à la disposition de ses 4,5 millions de membres (members log in), les annonces déposées par ses Membres, qui constituent désormais la première Place de Marché Normalisée® mondiale pour acheter et vendre des oeuvres d’Art à prix fixe ou aux enchères (enchères réglementées par les alinéas 2 et 3 de l’article L 321.3 du Code du Commerce).

Artprice, labellisée par le BPI pour la deuxième fois en novembre 2018, développe son projet de Blockchain sur le Marché de l’Art.

Bilan S1 2018 Mondial du Marché de l’Art, par Artprice en ligne sur :

https://fr.artprice.com/artprice-reports/bilan-du-marche-de-lart-s1-2018-par-artprice-com

Le Rapport Annuel Artprice du Marché de l’Art mondial 2017 publié en mars 2018 :

https://fr.artprice.com/artprice-reports/le-marche-de-lart-en-2017

Le Rapport du Marché de l’Art Contemporain 2018 d’Artprice :

https://fr.artprice.com/artprice-reports/le-marche-de-lart-contemporain-2018

Sommaire des communiqués d’Artprice :

http://serveur.serveur.com/press_release/pressreleasefr.htm

https://twitter.com/artpricedotcom

Suivre en temps réel toute l’actualité du Marché de l’Art avec Artprice sur Facebook, Google+ Twitter :

https://www.facebook.com/artpricedotcom 3,4 millions d’abonnés

https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom

https://plus.google.com/+Artpricedotcom/posts

http://artmarketinsight.wordpress.com/

Découvrir l’alchimie et l’univers d’Artprice http://web.artprice.com/video dont le siège social est le célèbre Musée d’art contemporain Abode of Chaos dixit The New York Times / La Demeure du Chaos: https://issuu.com/demeureduchaos/docs/demeureduchaos-abodeofchaos-opus-ix-1999-2013

https://vimeo.com/124643720

Musée d’Art Contemporain siège social d’Artprice :

https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999

(3,5 millions d’abonnés)

Contact ir@artprice.com

Beijing: creation of Artprice and Artron teams to conquer the Chinese Art Market, multiply Artprice’s turnover and promote Chinese art in the West.

2018/11/27 Commentaires fermés

Beijing: creation of Artprice and Artron teams to conquer the Chinese Art Market, multiply Artprice’s turnover and promote Chinese art in the West.

Beijing – Artprice’s Chairman, thierry Ehrmann, and its senior executives have just returned from several days of intense work at Artron’s headquarters in Beijing where discussions focused on accelerating and implementing, as quickly as possible, all the agreed strategic and commercial initiatives that will inevitably generate very positive results in terms of turnover and the expansion of Artprice’s client base… not to mention shareholder value.

Artron and its Chairman Mr. Wan Jie gave the Artprice team an exceptionally respectful, warm and loyal welcome and introduced Artprice to China’s top-level institutional leaders, the country’s principal Art Market players and all of Artron’s 3,500 employees.

These face-to-face introductions are an essential step in Artprice’s bid to fructify the enormous potential of the Chinese market in a fast and optimal manner.

In 2018, China accounted for 45% of global online transactions, generating 12 times more online transactions than the United States. China has a huge advantage over the West because it is building its market economy directly on the Internet (Source GEAB / LEAP 2020).

Speaking in front of his senior executives and top management, Mr. Wan Jie – at the head of his Artron empire and probably the most powerful player in China’s Art Market – reiterated his unfailing personal friendship and loyalty vis-à-vis Artprice’s founder-Chairman, thierry Ehrmann.

This fact deserves emphasis as Chinese custom usually prohibits such ‘departures’ from accepted business protocol.

As China has become the global Art Market’s leading marketplace over the past decade – Artprice had been the first to report it in 2009 –, it naturally represents a fascinating new market for Artprice.

China has grand ambitions:

As the French language business weekly Challenges headlined last week: “China, the giant that wants to dominate the World”. China is still accelerating with its “Made in China 2025” plan and its “New Silk Roads”.

As a global company, Artprice made a point to successfully enter the Chinese market, now the last great ‘eldorado’ for any group whose market is global.

According to Artprice’s founding Chairman, thierry Ehrmann, “I appreciated the emergence of China’s global power, its insatiable appetite and its desire for leadership a long time ago! Over the past nine years, Artprice has translated hundreds of millions of data from its proprietary databases into Mandarin. However, observant visitors to our famous head offices (L’Organe Museum of Contemporary Art at the “Abode of Chaos” [dixit The New York Times]) over the past 30 years will have noticed thousands of artworks – including my own sculptures and paintings – directly or indirectly referring to the ancient culture and history of China.”

Unlike many, I am not surprised to see China gradually becoming the world’s leading economic power. Artprice has decided to enter the Chinese market through the front door with a humility that has clearly been lacking in many Western listed companies. Any other strategy would have been a fatal mistake. I therefore wish to reiterate my thanks to Wan Jie, Artron’s Chairman, and all his colleagues for making this open and proper strategy possible after 9 years of close collaboration!”

Thanks to Artron’s expert advice, Artprice fully complies with the specifications of China’s “Great Electronic Wall” and its terms and conditions: Law CL97 (1997) as well as its “Golden Shield” protocol (1998).

In order to comply with law CL97, Artprice spent two years rewriting all its databank code in order to eliminate all US and European corporate source code containing cookies, tags, metadata, backdoor elements (amongst other elements).

Since Monday morning, Artprice is one of the very few Western companies to possess a WeChat profile reserved for companies operating under Chinese law. WeChat is used by more than 1.8 billion Chinese Internet users around the world.

The statistics concerning China are eye-watering: a population of over 1.4 billion people, 5 times that of the United States, a GDP growth of 6.5% this year and, regarding specifically Artprice, a colossal art market with a massive pool of living artists (1 million in China versus 120,000 for the USA and Europe combined) and an almost infinite number of artworks. China’s art market is animated by tens of millions of art buyers, professionals and collectors, many of whom are Artron customers and therefore, going forward, potential customers for Artprice.

The title of Artron’s press release: “Artron and Artprice team up to create the art ‘silk road’”, (the ‘silk road’ notion is massively used by the Chinese State) makes perfect sense. The New Silk Road is part of China’s soft power strategy (OBOR for One Belt, One Road) to conquer the world economically.

China had initiated the project. According to the IMF, the World Bank and the CIA World Factbook, China is the world’s leading economic power in terms of GDP-PPP in 2017. According to CNN, this project encompasses 68 countries representing 4.8 billion people and 62% of global GDP.

Artron is a very powerful company and, for those interested in Art or the Art Market, Artron is completely unavoidable in China. Artron is not only the world’s leading publisher of Fine Art books and auction catalogues (with more than 400 million books/catalogues printed); it is also a major scientific laboratory – with premises in Beijing, Shanghai and Shenzhen – and a technical and scientific knowledge base that easily rivals that of Silicon Valley.

Its scanning processes in virtual reality, augmented reality and mixed reality have reached the very highest level of global sophistication and the company’s scientific and cultural innovation has been rewarded with more than 800 prizes and awards for excellence.

Artron.Net is the most respected brand in the Chinese art world. It has more than 3 million professional members in the arts sector and an average of 15 million daily visits, making it the world’s leading art website. It is the first choice for art professionals, investors / collectors and art lovers. Founded in 1993, the Artron Art Group is celebrating its 25th anniversary this year.

The involvement of Artron and its Chairman Mr. Wan Jie in Art in China is completely uncontested. Mr. Wan Jie is a ‘protector’ of Beijing’s famous 798 Factory which enjoys global visibility and was visited by Artprice staff.

He is also Vice-Chairman and Founder of the Institute of the famous Forbidden City, where he and thierry Ehrmann visited government offices that are closed to the public during the recent trip to Beijing.

The was also an opportunity for Artprice’s Chairman thierry Ehrmann to see first-hand Mr. Wan Jie’s involvement and support for the protection and diffusion of ancient masterpieces of Chinese art in the Imperial Granaries. These superb works have been “returned to the people” thanks to Artron’s scientific breakthroughs and ultra high-speed Internet which allows these masterpieces of humanity to be contemplated in a virtual reality context, with the support of the Chinese State.

During the trip, the Artprice team met some of China’s world-renowned artists including Fang Lijun (born in 1963) ranked 623/700,000 in 2018 and Zhang Xiaogang (born in 1958) ranked 121/700,000 artists in 2018 in Artprice’s global ranking.

Artprice’s press agency, ArtMarketInsight, together with Artron’s editors, have decided to post around thirty daily dispatches in both Chinese and English aimed at combining information about the Chinese art market with information about the Western art market.

Our various meetings and visits in Beijing left no doubt in our minds as to the power of China, the extraordinary wealth and depth of its history (over 4,000 years), and the country’s incredible advance over the West in terms of technology… a vision and an understanding of China that completely disqualifies the ignorant visions of the Chinese Empire that can still be found in the West to this day.

A geo-cultural analysis is not interested in the percentage of GDP spent on arms, but rather in the depth of the countries’ respective histories and the relative strengths and weaknesses of the protagonist civilizations.

Among its numerous manifestations, China’s ‘soft power’ is also focused on the Art Market. In this context, Artron’s alliance with Artprice is part of Xi Jinping’s “BRI” (belt and road initiative) launched in 2013 (aka the “Silk Road” in Europe). According to CNN, this project encompasses 68 countries representing 4.8 billion people and 62% of global GDP with an investment of close to $8 trillion.

It is therefore a great honour for Artprice to have been chosen by Artron and its Chairman Mr. Wan Jie. Artron appreciates the work conducted by Artprice and has validated its place as World Leader in Art Market Information. That is why Artprice subscriptions will be distributed in China, with a huge potential for new customers. Artprice’s data will contribute to the fluidity of the Chinese and, more broadly, the Asian Art Market, in a context where ‘Greater Asia’ will account for 70% of the global Art Market by 2019.

According to Artron, Artprice’s econometric expertise associated with Artron’s proprietary data will not only provide an extraordinary boost to the fluidity of China’s Art Market (throughout its numerous provinces and autonomous regions), it will also greatly enhance and facilitate the work conducted by the country’s tax, administrative and customs authorities.

According to Artron and its Chairman Mr. Wan Jie, the only legitimate way to approach this colossal mission was to team up with a recognised and globally authoritative third-party certifier like Artprice, as World Leader in Art Market Information.

Never mentioned in the press or identified by economists or sociologists, this massive new market that Artprice is entering is typical of the kind of domestic market that only a central player in China’s Art Market could have been aware of.

China’s Provincial-level administrative divisions are the highest level administrative divisions in the People’s Republic of China. There are 34 such divisions, classified as 23 provinces, 4 municipalities, 5 autonomous regions, and 2 Special Administrative Regions.

Artprice subscriptions sold exclusively by Artron in China will therefore reach directly into the heart of the need identified by Artron within China’s domestic market. Similarly, Artprice will be accessible via Artron.Net’s home page and all the Chinese social networks where Artron is omnipresent.
Artron’s Chairman Mr. Wan Jie has already introduced Artprice to some very promising commercial contacts including the Chairman of China Guardian, China’s first publicly-traded Chinese auction house. China Guardian needs high-end Artprice subscriptions for its VIP customers as well as Artprice’s monthly analyses for its internal operations.

Thanks to Artron’s unique technology in the field of scanning parchments, manuscripts and collection catalogues from the previous century, Artprice will finally be able to offer all its customers extremely high value-added data such as the hundreds of thousands of handwritten notes by Hippolyte Mireur and the various pre-17th century documentary collections that Artprice owns, which are too fragile to be scanned using Western scanning devices.

With this major breakthrough, Artprice will further strengthen its position as World Leader in Art Market Information.

In the context of this extraordinary alliance with Artron and the massive potential for new customers in China, Artprice is anticipating a major boost to its 2019 sales and profits.

For the launch and marketing of its services and databases in China, Artprice will benefit from all of Artron’s logistical resources in terms of communication, via the Internet, as well as the physical world, thanks to its power, its reputation and its innumerable electronic and/or commercial networks throughout Greater Asia.

In this context, Artprice, with the assistance of Artron, has just translated 125 million data into the Chinese currency, the Renmimbi (RMB). Naturally the primary objective of this translation process is to facilitate the purchase of its data by its new Chinese clientele, presented by Artron. This captive clientele is accustomed to using Alipay and WeChat (1.8 billion users), two Chinese instant payment platforms (QR Code in kiosk mode debiting the Chinese customer on behalf of Artprice) that are mandatory for Chinese buyers.

Numerous synergies have already been identified from our joint working sessions and the merging of Artprice/Artron teams with the similar functions. Given the extent of strategic, financial and economic involvement with Artron, Artprice has decided to appoint a Chief Executive responsible for its Chinese and Greater Asia operations, who will reside in Beijing and work closely with Artron’s teams.

The objective of this strategy is to accelerate the numerous initiatives recently engendered by Artprice’s and Artron’s contractual and promissory agreements. This informed decision has been carefully deliberated and enjoys unanimous support within the Group.

This appointment will, notably, make it easier to coordinate Artron’s and Artprice’s joint initiatives.

Artron’s goals are both transparent and unambiguous:

In Mr. Wan Jie’s own words: “The founders and Chairmen of the two companies, thierry Ehrmann and myself – with our enthusiasm for art – will create a Silk Road linking the Chinese and Western art markets on the principle of mutual respect and cooperation”.

The two parties will build a global, diversified and professional exchange platform in the art market that will ultimately promote the sustainable development of the global art market.”

As this platform develops, Artprice’s Standardised Marketplace® will host millions of works by Chinese artists, provided by Artron, generating a massive increase in the number of artworks available online.

Artron’s Founding Chairman, Mr. Wan Jie, immediately understood the commercial interest and wisdom of Artprice’s ownership of the domain names artmarket.com, artmarket.net and artmarket.org, names that naturally and legally capture millions of “Art Market” queries on Google every month.

Artmarket.com, .net and .org therefore represent a decisive advantage in our quest to capture and drive the Global Art Market’s development on the Internet.

According to a bailiff’s report established by the Estelle PONS – Sarah MERGUI licensed court bailiff partnership in Lyon, Artmarket.com is the top result out of 1.82 billion results on Google.com (all languages combined) and therefore represents the best possible vector for Artprice to promote the works of 1 million Chinese artists and their tens of millions of works (already hosted by Artron) in the Western art market.

In view of the radical change in scope anticipated, Artprice is naturally moving towards an IPO of its subsidiary artmarket.com, its Standardized Marketplace®, on a Chinese stock exchange (Shanghai, Hong Kong, Shenzhen …) and not on an Anglo-Saxon exchange as originally planned.

According to thierry Ehrmann, “In 2019 Artprice will begin a new chapter alongside Artron that will trigger tremendous value for the global Art Market and our loyal shareholders. I am particularly pleased that my long-term strategy based on China’s rapid economic emergence will generate such positive results.”

Today I am 56; when I first visited China I was 25. Since then I have spent 30 years patiently studying the Middle Kingdom. Beyond this satisfaction, I have had the immense pleasure of knowing Mr. Wan Jie, a founding Chairman with whom I share the same vision regarding the democratization and promotion of art in the world. In short… Artprice’s long march is about to reach its objectives for its shareholders and for the global art market.

Artron will soon be publishing a documentary-report explaining all the meetings, discussions and agreements between the Artprice and Artron teams in Beijing. It will allow Western viewers to see images of Artron’s ultra-sophisticated scientific processes and appreciate the economic power of Artron in Greater Asia.

About the Artron Group:

“Artron Art Group (Artron), a comprehensive cultural industrial group founded in 1993, is committed to inheriting, enhancing and spreading art value. Based on abundant art data, Artron provides art industry and art fans with professional service and experience of quality products by integrated application of IT, advanced digital science and innovative crafts and materials. Having produced more than 60,000 books and auction catalogues, Artron is the world’s largest art book printer with a total print volume of 300 million a year. It has more than 3 million professional members in the arts sector and an average of 15 million daily visits, making it the world’s leading art website. Founded in 1993, the Artron Art Group is celebrating its 25th anniversary this year. It is the first choice for art professionals, investors, collectors and art fans in general wishing to discover and/or participate in the art world or the art market. Founded in 1993, Artron Art Group is celebrating its 25th anniversary this year.”

According to the Artron Group and its founder-Chairman Mr. Wan Jie “After 7 years of cooperation, Artron and Artprice have optimised their cooperation regarding the Chinese and Western art markets. The founders and Chairmen of both companies, Mr. Wan Jie and Mr. Thierry Ehrmann, with their enthusiasm for art, will create a Silk Road linking the Chinese and Western art markets on the principle of respect and mutual cooperation. The two groups will build a global, diversified and professional exchange platform in the Art Market, which will ultimately promote the sustainable development of the Global Art Market.

Artron’s Web: www.artron.com.cn; www.artron.net.

Contact: 400-6690-999

About Artprice:

Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2018/10/bio-2019-whos-who-thierry-ehrmann.pdf ).

Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.

Dicover Artprice in video: https://www.artprice.com/video

Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.

12 Oct. 2018: Artprice and Artron have just created an “Art Media Mogul”:
Video: https://vimeo.com/296010836

Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications. For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label)Artprice’s Global Art Market Annual Report for 2017 published last March 2018: https://www.artprice.com/artprice-reports/the-art-market-in-2017

Artprice’s Contemporary Art Market Annual Report for 2017 – free access at: https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2017

Artprice’s press releases:

http://serveur.serveur.com/Press_Release/pressreleaseen.htm

https://twitter.com/artpricedotcom

Artmarket News:

https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom

https://www.facebook.com/artpricedotcom & https://plus.google.com/+artpricedotcom/posts

http://artmarketinsight.wordpress.com/

Discover the Alchemy and the universe of Artprice http://web.artprice.com/video, which headquarters are the famous Museum of Contemporary Art, the Abode of Chaos:

http://goo.gl/zJssd

https://vimeo.com/124643720

The Contemporary Art Museum The Abode of Chaos on Facebook: https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999

Contact: ir@artprice.com

Beijing (Pékin) : Mise en place des équipes Artprice et Artron pour conquérir le Marché de l’Art chinois, multiplier le CA d’Artprice et promouvoir l’art chinois en Occident.

2018/11/27 Commentaires fermés

Beijing (Pékin) – Si l’État-major d’Artprice et son Président thierry Ehrmann se sont déplacés pendant plusieurs jours à Pékin, au siège social d’Artron, c’est pour accélérer et concrétiser au plus vite, pour les actionnaires d’Artprice, les accords mis en place dont découleront obligatoirement les perspectives économiques très positives attendues, principalement en termes de chiffre d’affaires et d’extension du fichier clients.

Il faut tout d’abord souligner l’accueil respectueux, chaleureux et fidèle d’Artron, en particulier de son Président Wan Jie, qui a présenté à Artprice les responsables institutionnels chinois au plus haut niveau, les principaux acteurs du Marché de l’Art chinois et l’ensemble des 3500 collaborateurs d’Artron.

Toutes ces mises en relation physique permettent à Artprice de décrypter au plus vite et de manière optimale ce nouveau marché pour faire exploser la croissance de son CA, que représente la Chine pour Artprice.

En 2018, la Chine comptait pour 45 % des échanges en ligne mondiaux, réalisant 12 fois plus de transactions en ligne que les USA. La Chine a l’immense avantage sur l’Occident de construire son économie de marché directement sur la base d’Internet (Source GEAB/LEAP 2020).

De même, M. Wan Jie, Président d’Artron, incontestablement l’acteur le plus puissant du Marché de l’Art en Chine par l’empire qu’il a fondé, a réitéré, devant ses Vice-Présidents et l’ensemble de ses cadres supérieurs, son amitié indéfectible et sa fidélité dans les relations qu’il entretient personnellement avec thierry Ehrmann, Président d’Artprice.

Ce fait mérite d’être souligné car ce protocole est extrêmement rare dans la coutume chinoise.

C’est un nouveau marché fascinant et incontournable pour Artprice puisque la Chine s’est installée en Leader du Marché de l’Art mondial cette décennie, tel qu’annoncé la première fois par Artprice en 2009.

La Chine nourrit de grandes ambitions :

« La Chine, le géant qui veut dominer le Monde » titrait Challenges la semaine dernière. La Chine accélère encore avec son plan « Made in China 2025 » et ses « Nouvelles routes de la Soie ».

En tant qu’entreprise mondiale, Artprice se devait de réussir son implantation en Chine qui est désormais le dernier eldorado pour les groupes dont les marchés sont globaux.

thierry Ehrmann, PDG Fondateur d’Artprice : « Cette montée en puissance, cet appétit insatiable et cette volonté de leadership, cela fait longtemps que je les ai anticipés ! D’abord, en 9 ans, Artprice a traduit intégralement en mandarin plusieurs centaines de millions de data issues de ses banques de données mais, si vous êtes observateurs, voilà près de 30 ans que vous avez pu constater la présence de milliers d’oeuvres d’Art, de mes sculptures et peintures reprenant la culture et l’Histoire millénaires de la Chine dans notre siège social, le célèbre Musée d’Art Contemporain L’Organe, à La Demeure du Chaos / The Abode of Chaos dixit The New York Times. »

« Si certains s’étonnent aujourd’hui de voir la Chine prendre peu à peu la place de première puissance économique, ce n’est pas mon cas ! Et vraiment, nous aurions été dans l’erreur fatale si Artprice n’avait pas pénétré la Chine par la grande porte, avec l’humilité qui a fait défaut à de nombreux groupes occidentaux cotés en Bourse. En cela, je remercie encore une fois Wan Jie, Président d’Artron, ainsi que tous ses collaborateurs qui ont rendu possible cette prouesse après 9 ans d’étroite collaboration ! ».

En effet, grâce aux conseils avisés d’Artron, Artprice satisfait en tous points au cahier des charges du grand firewall chinois « Grande Muraille Electronique » et ses conditions : Loi CL97 (1997) et suivantes ainsi que le protocole Golden Shield (1998).

Pour se conformer à la Loi CL97, Artprice a donc réécrit durant 2 ans l’ensemble de ses codes informatiques ainsi que ses banques de données en supprimant notamment les codes sources de sociétés de droit américain et européen dont les lignes de codes incluent, entre autres, des cookies, balises, Métadonnées ou Backdoors.

Depuis ce lundi matin, Artprice est une des seules sociétés occidentales à posséder un site WeChat réservé aux sociétés de droit chinois qui touche plus de 1,8 milliard d’internautes chinois dans le monde.

Les chiffres de la Chine donnent le vertige : plus de 1,4 milliard d’habitants, 5 fois la population des USA, un PIB en croissance de 6,5% cette année et, concernant spécifiquement Artprice, un Marché de l’Art aux dimensions démesurées avec un réservoir d’artistes vivants (1 million d’artistes pour la Chine et 120 000 artistes pour les USA et l’Europe réunis) et d’œuvres d’art pratiquement infini, avec des dizaines de millions d’amateurs, collectionneurs, professionnels de l’Art, clients d’Artron qui sont autant de clients potentiels pour Artprice.

Le titre du communiqué d’Artron : « Artron and Artprice teamed up to create art ‘silk road’ » label étatique Chinois prend tout son sens. La Nouvelle Route de la Soie est la stratégie de la Chine (Soft Power) appelée OBOR en anglais pour conquérir le monde économiquement.

L’auteur de cette initiative est la Chine : la première puissance économique en PIB-PPA en 2017, selon le FMI, la Banque mondiale et le rapport de la CIA World FBK. Selon CNN, ce projet englobe 68 pays représentant 4,4 milliards d’habitants et 62 % du PIB mondial.

Artron est une entreprise très puissante, un univers incontournable en Chine, pour peu qu’on s’intéresse à l’Art en général. Artron est non seulement le 1er éditeur de beaux livres d’Art dans le monde et catalogues de ventes aux enchères avec plus de 400 millions d’imprimés mais aussi un vaste laboratoire scientifique réparti entre Beijing (Pékin), Shanghai et Shenzhen, dont le degré de connaissance excède sans contestation les fleurons de la Silicon Valley sur ses domaines.

Le processus de numérisation en réalité virtuelle, en réalité augmentée et en mixed reality atteint un niveau de connaissances au plus haut niveau mondial. Plus de 800 prix d’excellence et Awards viennent certifier cette démarche scientifique et culturelle.

Artron.net est la marque la plus respectée du monde de l’art chinois. Elle compte plus de 3 millions de membres professionnels dans le secteur des arts et 15 millions de visites quotidiennes en moyenne, ce qui en fait le premier site Web d’art mondial. C’est le premier choix des professionnels de l’art, des investisseurs et des collectionneurs et amateurs d’art. Fondé en 1993, Artron Art Group fête cette année ses 25 ans.

L’implication d’Artron et de son Président M. Wan Jie dans l’Art en Chine ne souffre d’aucune contestation. M. Wan Jie est, entre autres, le protecteur de la célèbre Factory 798 à Beijing (Pékin), reconnue mondialement, et qu’il a présenté à l’État-major d’Artprice.

M. Wan Jie est aussi Vice-Président et Fondateur de l’Institut de la célèbre Cité Interdite, où les deux Présidents ont pu accéder à des espaces étatiques interdits au public.

thierry Ehrmann, Président d’Artprice, a pu constater l’implication et le mécénat de son homologue M. Wan Jie sur la protection et la diffusion des chefs d’oeuvres millénaires de l’Art Chinois dans les greniers impériaux qu’il restitue au peuple grâce aux avancées scientifiques d’Artron, à l’Internet très haut débit permettant ainsi de contempler ces chefs d’oeuvres de l’humanité en réalité virtuelle, avec le soutien de l’État chinois.

Lors de ce déplacement, l’État-major d’Artprice a fait d’inoubliables rencontres avec des artistes chinois mondialement renommés comme notamment Fang Lijun (né en 1963) 623ème/700 000 en 2018 et Zhang Xiaogang (né en 1958) 121ème/700 000 artistes en 2018 dans le classement Artprice.

L’agence de presse d’Artprice, ArtMarketInsight, va produire en chinois et en anglais, avec les rédacteurs d’Artron, une trentaine de dépêches quotidiennes permettant ainsi de fusionner en connaissances le Marché de l’Art chinois et occidental.

Ces nombreux déplacements et rencontres ont permis à Artprice de valider concrètement la puissance de la Chine, avec une Histoire de plus de 4000 ans, dotée d’une avance incroyable sur l’Occident au niveau de la technologie, balayant d’un revers de la main les visions ignorantes sur l’Empire chinois.

La lecture géopolitique ne se mesure pas qu’en pourcentage du PIB consacré au budget de l’armement mais bel et bien en termes d’histoire dans le temps et du choc des civilisations protagonistes.

Le Soft Power qu’exerce la Chine se porte entre autres sur le Marché de l’Art où l’alliance Artprice / Artron s’inscrit dans le plan « belt and road initiative » BRI, lancé par Xi Jinping en 2013, connu en Europe sous le nom de « Route de la Soie ». Selon CNN, ce projet englobe 68 pays représentant 4,8 milliards d’habitants et 62% du PIB mondial avec un investissement voisin de 8000 milliards de dollars.

Concrètement pour Artprice, c’est un grand honneur d’avoir été choisie par Artron et son Président M. Wan Jie. Artron considère le travail d’Artprice et plébiscite sa place de Leader Mondial de l’Information sur le Marché de l’Art. C’est pour cela que les abonnements d’Artprice vont être distribués en Chine, avec un potentiel énorme de nouveaux clients. Les données d’Artprice vont contribuer ainsi à la fluidité du Marché de l’Art chinois, et asiatique plus largement, sachant que la Grande Asie va peser 70% du Marché de l’Art dès 2019.

Selon Artron, seule l’expertise économétrique d’Artprice (associée à Artron) va pouvoir donner une fluidité extraordinaire au Marché de l’Art en Chine sur les différentes provinces et régions autonomes et satisfaire les autorités fiscales, administratives et douanières.

Cette demande, d’après Artron et son Président Wan Jie, est colossale et seul un tiers certificateur comme Artprice, Leader mondial de l’Information sur le Marché de l’Art, faisant autorité dans le monde, peut la satisfaire en toute légitimité.

C’est l’exemple type d’un marché intérieur que seul un acteur central du marché de l’Art chinois connaît. Cette information capitale n’est jamais sortie par voie de presse et/ou n’a jamais été commentée par des économistes, des journalistes et des sociologues.

Pour information, les provinces de Chine sont la plus haute division administrative en République populaire de Chine. Il existe trente-quatre divisions de cette sorte, réparties en vingt-trois provinces, quatre municipalités, cinq régions autonomes et deux régions administratives spéciales.

Les abonnements Artprice vendus en exclusivité par Artron en Chine pourront ainsi toucher directement le cœur de cible et le client final. De même, Artprice va être, dans quelques jours, accessible via la home page d’Artron.Net et de tous les réseaux sociaux chinois où Artron est omniprésent.

Par l’intermédiaire de M. Wan Jie, Président d’Artron, Artprice a noué très rapidement des contacts commerciaux pour le moins prometteurs comme par exemple celui avec la Présidente de China Guardian, première Maison de Ventes chinoise, cotée en Bourse, très demandeuse des abonnements Artprice haut de gamme pour sa clientèle VIP et de l’analyse mensuelle d’Artprice pour son groupe.

Grâce à la technologie unique d’Artron dans le domaine de la numérisation de parchemins, manuscrits et catalogues de collections du siècle dernier, Artprice va enfin pouvoir proposer à tous ses clients des données à très forte valeur ajoutée, comme par exemple les centaines de milliers de notes manuscrites d’Hippolyte Mireur et des différents fonds documentaires d’Artprice antérieur au XVIIème siècle, trop fragiles jusqu’à présent pour supporter des manipulations de scannérisation avec les appareils de numérisation occidentaux.

Avec cette avancée majeure, Artprice va considérablement renforcer sa place de Leader Mondial de l’Information sur le Marché de l’Art.

Artprice peut voir, en 2019, son chiffre d’affaires et son résultat très largement se multiplier, compte-tenu du potentiel de nouveaux clients possibles en Chine, dans le contexte de cette alliance hors-normes avec Artron.

Pour le lancement et la commercialisation de ses services et bases de données en Chine, Artprice va bénéficier de toute la logistique d’Artron, en matière de communication sur Internet et dans le monde physique, grâce à sa puissance, sa notoriété et ses innombrables réseaux électroniques et/ou commerciaux dans l’ensemble de la Grande Asie.

Dans cette optique, Artprice, avec le concours d’Artron, vient de passer 125 millions de ses données dans la monnaie chinoise, le Renminbi (RMB) avec le taux de change au jour le jour sur l’historique des adjudications. Cela pour faciliter bien évidemment la concrétisation de l’achat de ses données par sa nouvelle clientèle chinoise présentée par Artron. Cette clientèle captive est très habituée à l’utilisation d’Alipay et de WeChat (1,8 milliard d’utilisateurs) qui sont des plateformes de paiement instantané chinoises (QR Code en mode kiosque débitant de suite le client Chinois au profit d’Artprice) obligatoires pour l’acheteur chinois.

Des séances de travail en commun et de la constitution d’équipes Artprice / Artron ayant les mêmes fonctions émergent de très nombreuses synergies. Compte tenu de l’ampleur des opérations stratégiques, capitalistiques et économiques avec Artron, un Président exécutif Artprice pour la Chine et plus généralement pour la Grande Asie, résidera à Beijing (Pékin), au plus près des équipes d’Artron.

Cette stratégie vise à accélérer les différents processus en cours. Ce choix mûrement réfléchi s’opère avec une grande maturité et un consensus unanime au sein du Groupe Artprice et de sa maison-mère Groupe Serveur, pionnier des banques de données sur Internet depuis 1987.

Cela permettra, entre autres, de coordonner plus facilement les actions communes d’Artron et Artprice.

Les objectifs d’Artron sont clairs et sans la moindre ambiguïté.

M. Wan Jie : « Les Fondateurs et les présidents des deux sociétés, M. thierry Ehrmann et moi-même, avec notre enthousiasme pour l’art, créerons une « Route de la Soie » reliant les marchés de l’art chinois et occidental sur le principe du respect et de la coopération mutuels. »

« Les deux parties vont construire une plate-forme mondiale, diversifiée et professionnelle d’échange dans le marché de l’art, qui favorisera en fin de compte le développement durable du marché mondial de l’art. »

En cela, Artprice verra sa Place de Marché Normalisée® accueillir des millions d’œuvres d’artistes chinois, fournies par Artron, engendrant donc un véritable choc pour le Marché de l’Art mondial par le montant global des œuvres en ligne.

Le Président Fondateur d’Artron, M. Wan Jie, a tout de suite saisi la pertinence et la force incontestable des DNS artmarket.com .net et .org possédés par Artprice et qui absorbent le plus légalement des millions de requêtes/mois sur la demande générique « Art Market » sur Google.com.

Artmarket.com .net et .org sont donc l’atout maître sur Internet pour capter le Marché de l’Art Mondial.

Artmarket.com est Numéro 1 sur 1,82 milliard de résultats sur Google.com (toutes langues confondues), selon le constat d’Huissier du 05/11/2018 (SCP Pons-Mergui), pour pénétrer l’Occident et pousser par Artprice le million d’artistes chinois et leurs dizaines de millions d’œuvres déjà hébergées par Artron.

Compte-tenu du changement radical de périmètre attendu, Artprice s’oriente naturellement, par rapport à son projet d’IPO, vers une introduction de sa filiale artmarket.com, sa Place de Marché Normalisée®, sur une place Boursière Chinoise (Shanghai, Hong Kong, Shenzhen…) et non sur un marché anglo-saxon comme initialement prévu.

thierry Ehrmann : « Artprice devrait vivre en 2019 une Histoire exceptionnelle, celle que nous nouons avec Artron, pour le Marché de l’Art mondial et nos fidèles actionnaires. Je suis particulièrement satisfait d’avoir opté depuis longtemps pour une stratégie basée sur l’avènement économique de la Chine ».

« Pour information, j’avais 25 ans lors de mon premier voyage en Chine, j’en ai 56 aujourd’hui, soit plus de 30 ans d’apprentissage patient de l’Empire du Milieu. Au-delà de cette satisfaction, j’ai celle d’avoir rencontré en la personne de Wan Jie, un Président fondateur avec lequel je partage la même vision de la démocratisation et de la propagation de l’Art dans le Monde. La longue marche d’Artprice atteint ses objectifs pour les actionnaires et le marché. »

Très prochainement, un documentaire vidéo conséquent réalisé par Artron témoignera de toutes les rencontres, discussions et accords entre les équipes d’Artprice et d’Artron à Beijing (Pékin) tels que décrits sommairement dans ce communiqué. Il permettra aussi au lectorat occidental de découvrir par la force de l’image, la démarche scientifique au plus haut niveau d’Artron et sa puissance économique dans la Grande Asie.

Au sujet du groupe Artron :

« Artron Art Group (Artron), un vaste groupe de l’industrie culturelle, s’est engagé à hériter, à améliorer et à diffuser la valeur de l’art. Sur les bases de données artistiques abondantes, Artron fournit aux professionnels de l’industrie de l’art et aux amateurs d’art un service professionnel et une expérience de produits de qualité grâce à des applications informatiques intégrées, une science numérique avancée et des matériaux et métiers innovants. Artron est le plus grand imprimeur de livres d’art au monde, avec plus de 60 000 livres et catalogues de vente aux enchères et un volume de publication total de 300 millions par an. Artron.net est la marque la plus respectée du monde de l’art chinois. Artron.net compte plus de 3 millions de membres professionnels dans le secteur des arts et 15 millions de visites quotidiennes en moyenne, ce qui en fait le premier site Web d’art mondial. C’est le premier choix des professionnels de l’art, des investisseurs, collectionneurs et amateurs d’arts pour entrer dans le monde de l’art. Fondé en 1993, Artron Art Group fête cette année ses 25 ans. »

Toujours selon le Groupe Artron et son Président fondateur M. Wan Jie, « Après 7 ans de coopération, Artron et Artprice ont amélioré leur coopération dans le domaine des marchés de l’art chinois et occidental. Les Fondateurs et les présidents des deux sociétés, M. Wan Jie et M. thierry Ehrmann, avec leur enthousiasme pour l’art, créeront une « Route de la Soie » reliant les marchés de l’art chinois et occidental sur le principe du respect et de la coopération mutuels. Les deux parties vont construire une plate-forme mondiale, diversifiée et professionnelle d’échange dans le Marché de l’Art, qui favorisera en fin de compte le développement durable du Marché Mondial de l’art. »

A propos d’Artprice :

Artprice est cotée sur Eurolist by Euronext Paris, SRD long only et Euroclear : 7478 – Bloomberg : PRC – Reuters : ARTF.

Découvrir Artprice en vidéo : https://fr.artprice.com/video

Artprice fut fondée en 1997 par thierry Ehrmann qui est son PDG. Artprice est auto-contrôlée par le Groupe Serveur créé en 1987. Voir biographie certifiée de Who’s who © :

https://imgpublic.artprice.com/img/wp/sites/11/2018/10/bio-2019-whos-who-thierry-ehrmann.pdf

Artprice est le Leader mondial des banques de données sur la cotation et les indices de l’Art avec plus de 30 millions d’indices et résultats de ventes couvrant plus de 700 000 Artistes. Artprice Images® permet un accès illimité au plus grand fonds du Marché de l’Art au monde, bibliothèque constituée de 126 millions d’images ou gravures d’oeuvres d’Art de 1700 à nos jours commentées par ses historiens.

Artprice enrichit en permanence ses banques de données en provenance de 6300 Maisons de Ventes et publie en continu les tendances du Marché de l’Art pour les principales agences et 7200 titres de presse dans le monde. Artprice met à la disposition de ses 4,5 millions de membres (members log in), les annonces déposées par ses Membres, qui constituent désormais la première Place de Marché Normalisée® mondiale pour acheter et vendre des oeuvres d’Art à prix fixe ou aux enchères (enchères réglementées par les alinéas 2 et 3 de l’article L 321.3 du Code du Commerce).

Artprice, labellisée par le BPI pour la deuxième fois en novembre 2018, développe son projet de Blockchain sur le Marché de l’Art.

Bilan S1 2018 Mondial du Marché de l’Art, par Artprice en ligne sur :

https://fr.artprice.com/artprice-reports/bilan-du-marche-de-lart-s1-2018-par-artprice-com

Le Rapport Annuel Artprice du Marché de l’Art mondial 2017 publié en mars 2018 :

https://fr.artprice.com/artprice-reports/le-marche-de-lart-en-2017

Le Rapport du Marché de l’Art Contemporain 2018 d’Artprice :

https://fr.artprice.com/artprice-reports/le-marche-de-lart-contemporain-2018

Sommaire des communiqués d’Artprice :

http://serveur.serveur.com/press_release/pressreleasefr.htm

https://twitter.com/artpricedotcom

Suivre en temps réel toute l’actualité du Marché de l’Art avec Artprice sur Facebook, Google+ Twitter :

https://www.facebook.com/artpricedotcom 3,2 millions d’abonnés

https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom

https://plus.google.com/+Artpricedotcom/posts

http://artmarketinsight.wordpress.com/

Découvrir l’alchimie et l’univers d’Artprice http://web.artprice.com/video dont le siège social est le célèbre Musée d’art contemporain Abode of Chaos dixit The New York Times / La Demeure du Chaos: https://issuu.com/demeureduchaos/docs/demeureduchaos-abodeofchaos-opus-ix-1999-2013

https://vimeo.com/124643720

Musée d’Art Contemporain siège social d’Artprice :

https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999

(3,33 millions d’abonnés)

Contact ir@artprice.com

Artprice: imminent nomination of a Chief Executive in China

2018/10/31 Commentaires fermés

Artprice: imminent nomination of a Chief Executive in China

Considering the depth of Artprice’s strategic, capitalistic and economic involvement with Artron, thierry Ehrmann plans to propose to Artprice’s board of directors the nomination of a Chief Executive responsible for its Chinese and Greater Asia operations.

The selected candidate (not a member of the Ehrmann family) has all the confidence of thierry Ehrmann, who remains CEO and Chairman of the Group.

The objective of this strategy is to accelerate the numerous initiatives recently engendered by Artprice’s and Artron’s contractual and promissory agreements. This informed decision has been carefully deliberated and enjoys the unanimous support with the Group.

About Artron:

Artron Art Group (Artron) is a general cultural industry group rooted in the art field and aims to “serve the people with art” by “serving the people’s art”, inherit, enhance, spread and realize values of art, and inherit excellent art and culture and enhance their values in professional art markets; spread values of art and culture and convey the beauty of art to people’s daily lives in public art markets.

As China’s largest comprehensive art service platform, Artron.net delivers four solutions including Smart Archive, Smart Show, Smart Deal and Smart Reading. In addition, upon resources and professional studies of Artron’s art market monitor agency (AMMA) and almost 20 years’ of experience in the field of art, it has established long-term strategic cooperation with governmental bodies such as the Ministry of Culture, cultural institutions such as the Palace Museum, global art universities, internet companies such as Baidu and overseas research institutes.

Artron’s Web: www.artron.com.cnwww.artron.net.

Contact: 400-6690-999

About Artprice:

Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2018/10/bio-2019-whos-who-thierry-ehrmann.pdf ).

Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.

Dicover Artprice in video: https://www.artprice.com/video

Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images(R) gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.

12 Oct. 2018: Artprice and Artron have just created an “Art Media Mogul”:
Video: https://vimeo.com/296010836

Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications. For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label)Artprice’s Global Art Market Annual Report for 2017 published last March 2018: https://www.artprice.com/artprice-reports/the-art-market-in-2017

Artprice’s Contemporary Art Market Annual Report for 2017 – free access at: https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2017

Artprice’s press releases:

http://serveur.serveur.com/Press_Release/pressreleaseen.htm

https://twitter.com/artpricedotcom

Artmarket News:

https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom

https://www.facebook.com/artpricedotcom & https://plus.google.com/+artpricedotcom/posts

http://artmarketinsight.wordpress.com/

Discover the Alchemy and the universe of Artprice http://web.artprice.com/video, which headquarters are the famous Museum of Contemporary Art, the Abode of Chaos:

http://goo.gl/zJssd

https://vimeo.com/124643720

The Contemporary Art Museum The Abode of Chaos on Facebook: https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999

Contact: ir@artprice.com

Artprice and Artron have just created an “Art Media Mogul”

2018/10/20 Commentaires fermés

Artprice and Artron have just created an “Art Media Mogul”

After seven years of collaboration, cultural exchange and regular trips between China and Europe, the two founders and presidents of Artron and Artprice, WAN Jie and thierry Ehrmann (who are exactly the same age and share the same commitments), share the same vision of the Global Art Market and the same passion for Art within the context of a loyal and mutually respectful friendship.

This long and infallible relationship has allowed both groups to work extremely quickly without cultural barriers to build an “Art Media Mogul”. By analogy, it’s exactly as if Baidu and Google were merging their respective knowledge.

Artron is the world’s largest printer of art books with more than 60,000 books and auction catalogues and a total publication volume of 300 million a year. Artron.net is the most respected brand in the Chinese art world. Artron is celebrating his 25th anniversary. Established in 1993, Artron Art Group celebrates its 25th anniversary this year.

Artprice is the world leader in Art Market Information since 1987 with 4,500,000 members

its databanks with information from 6,300 auctioneers and publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications. Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art.

Last Friday, 12 October 2018, at Artprice’s head office in Lyon, France, Artron CEO and founder, WAN Jie, along with his staff, and Artprice CEO and founder, thierry Ehrmann, along with his staff, signed a historic agreement between the two groups.

Official video of the Friday 12 October 2018 signing ceremony and talks about the 10 new development agreements at Artprice’s head office in France:

https://vimeo.com/296010836

Facebook (450k views)
https://www.facebook.com/228501370495445/posts/2201077099904519

Twitter
https://twitter.com/artpricedotcom/status/1053538253192749056

Chinese:

https://vimeo.com/296008906

A series of development agreements in principle (10, soon to be delivered) was discussed and. They go far beyond the exclusive distribution contract allowing for Artprice subscriptions to be marketed through the Chinese Intranet to millions of Chinese art collectors – via Artron Group’s customers – in China.

The scope of the 10 new development agreements discussed on 12 October 2018 will have a structural impact on the Global Art Market and on Art History, according to Art historians, in a way that no-one could have imagined. At the same time, Artprice and Artron are on the verge of an extraordinary evolution during which, from a shareholder perspective, Artprice will change in dimension – economically, financially and historically – as of 2019.

Artron produces all the catalogues of Chinese auction houses and handles the postal or digital mailing of these catalogues to their final customers. It will be possible for Artprice subscriptions, sold exclusively by Artron in China, to directly reach the target audience.

Similarly, Artprice will be featured on the homepage of Artron.Net which, according to many studies, is the most respected brand in the Chinese art world. Artron.net has more than 3 million members and receives more than 9 million online visitors per day (on average) or 270 million visitors per month to their website.

Via Artron, there exists a massive potential demand for Artprice subscriptions, including its unique decision support tools, because these tools allow China’s collectors, art professionals and its museum industry to acquire Western artworks with total assurance that they have complete mastery of all the relevant pricing information, the artist’s background and their ‘economic profile’.

Thanks to Artron’s expert advice, Artprice fully complies with the specifications and conditions of China’s Great Electronic Firewall (Law CL97 (1997) et seq.) and its Golden Shield protocol (1998).

To do so, Artprice has deployed the obligatory Alipay and WeChat Chinese payment platforms (1.8 billion users) for Chinese buyers after developing no less than 54 million pages in Mandarin on its Internet accessible data banks (which took seven years…).

In order to conform to Law CL97, Artprice spent two years rewriting all its data bank code in order to eliminate all US and European corporate source code containing cookies, tags, metadata or backdoor elements (amongst other elements).

In fact, thanks to Artron’s assistance and advice, Artprice has managed to achieve what the GAFA’s have tried on numerous occasions but failed. It has managed to penetrate the core of the Chinese Intranet.

What was discussed on Friday 12 October 2018 far exceeds what was originally planned. It follows on from a summit meeting held in March 2018 in Beijing between Artprice’s and Artron/AMMA’s executive teams, and should broaden the two companies’ Marketplaces.

Artron is the world’s largest printer of art books with more than 60,000 books and auction catalogues and a total publication volume of 300 million.

To understand the power of Artron and its unavoidable position in China, follow the link to this video in English…

http://english.artron.com.cn/about/video/index

Read Artron’s official presentation: http://english.artron.com.cn/about/introduction/index

The exclusive contract for the distribution of Artprice subscriptions to Artron’s customers and the ten new additional agreements in principle can be implemented rapidly on the basis of the two companies’ mutual knowledge resulting from seven years of constant partnership, proving that long-term collaboration, patience and hard work are the keys to success.

In 2018, China accounted for 45% of global online art trade, conducting twelve times more online transactions than the United States. China has a huge advantage over the West because it is building its market economy directly on the Internet. Moreover, no-one doubts that China’s Art Market will account for 70% of the global Art Market as of 2020. Artprice, as the world leader in Art Market information, had to be central to its market. It should not be forgotten that France accounted for 4% of H1 2018 results.

For further information regarding the historical background of relations between Artprice and Artron/AMMA and its economic consequences, please refer to Artprice’s reference documents and, in particular, to its 2017 registration document filed with the AMF (France’s Financial Markets Supervisory Authority) on 1 June 2018 (in accordance with the Article 212-13 of the AMF’s General Regulations) and to Artprice’s Press Releases.

More details, video clips and photos of the signing and accompanying speeches will be online shortly on Artprice’s and Artron’s social networks.

About Artprice:

Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.

Dicover Artprice in video: https://www.artprice.com/video

Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images(R) gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.

12 Oct. 2018: Artprice and Artron have just created an “Art Media Mogul” :
Video :
https://vimeo.com/296010836

Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications. For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label)Artprice’s Global Art Market Annual Report for 2017 published last March 2018: https://www.artprice.com/artprice-reports/the-art-market-in-2017

Artprice’s Contemporary Art Market Annual Report for 2017 – free access at: https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2017

Artprice’s press releases:

http://serveur.serveur.com/Press_Release/pressreleaseen.htm

https://twitter.com/artpricedotcom

Artmarket News:

https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom

https://www.facebook.com/artpricedotcom & https://plus.google.com/+artpricedotcom/posts

http://artmarketinsight.wordpress.com/

Discover the Alchemy and the universe of Artprice http://web.artprice.com/video, which headquarters are the famous Museum of Contemporary Art, the Abode of Chaos:

http://goo.gl/zJssd

https://vimeo.com/124643720

The Contemporary Art Museum The Abode of Chaos on Facebook: https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999

Contact: ir@artprice.com

Artprice: the 45th edition of the fiac! opens in a general climate of optimism, but…

2018/10/18 Commentaires fermés

The 45th edition of the FIAC opens on Wednesday 17 October in a general climate of optimism. Artprice’s 2018 Contemporary Art Market Report reveals growth on a planetary scale, which the International Contemporary Art Fair in Paris and its numerous off shows are hoping will translate into buoyant sales:

Y-o-Y stability for Contemporary Art Market (2017/18 vs. 2016/17)

Global auction turnover rose +19% to a total of $1.9 billion
The number of lots sold increased by +17% with 66,850 adjudications
The global unsold rate remained stable at 39%
The Contemporary Art Price Index gained +18.5%

Artprice‘s 2018 Contemporary Art Market Report is available free of charge at

https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2018

The Global Contemporary Art Market has posted exponential growth over the past 18 years (2017/18 vs. 2000/01)

Global turnover has risen +1,700% from $103 million to $1.9 billion
The number of auction transactions has multiplied 5.5x from 12,300 to 66,850 lots sold.
The top auction price has risen from $5.6 million to $110.5 million (respectively for Jeff Koons and Jean-Michel Basquiat)

Paris to put France back on the world stage

On the new global Art Market, driven essentially by Contemporary Art and dominated by New York, London, Beijing and Hong Kong (which account for 82% of the segment’s global auction turnover), Paris is striving to defend its historical position and influence. But France’s annual performance ($783 million in 2017) today represents only a little more than the turnover generated by a single prestige sale in New York at Sotheby’s or Christie’s.

According to Thierry Ehrmann, founder and CEO of Artprice, Paris is looking for a new lease of life. The City of Light wants to take full of advantage of its prestige and bring back buyers from around the world… it wants to recapture the high-end market. This ambition requires profound change and deep market restructuring, a process that has already begun. The future of Paris is today far more dependent on the FIAC and on the performances of the major Anglo-Saxon auction houses than on its traditional structures like Drouot and the Salon des Antiquaires.

All of the market’s key ‘makers’ at the Grand Palais

With 60 galleries French galleries among a total of 195, the FIAC ensures that French creation is not forgotten at the fair. Nevertheless, the FIAC’s real strength is its superbly international roster of galleries. The FIAC would not be the FIAC without Blum & Poe, Pace, Lisson, Paula Cooper, Gavin Brown’s Enterprise, Gladstone and of course David Zwirner, Gagosian, Marian Goodman, White Cube, etc.

The FIAC is an opportunity for all Contemporary Art lovers to see the world’s most prestigious galleries gathered in Paris. For the big galleries, it’s an opportunity to take part in a particularly selective meeting in one of the world’s most majestic venues: the nave of the Grand Palais, where the Salon des Refusés was historically held, and which nowadays also hosts Paris fashion week.

The major galleries who deserted the FIAC usually come back sooner or later; this year sees the return of the giant Hauser & Wirth, New York’s Canada and Paul Kasmin, the Belgian gallery Rodolphe Janssen (among others). But booths are expensive in the Grand Palais and the quality of the galleries is extremely high. Between those returning and those making their first appearance, the actual gallery turnover rate is only 16%, i.e. less than one booth in six.

If the FIAC’s international offer has legitimised the fair on the international circuit, it now resembles other major fairs like Art Basel, the Armory Show and especially the Frieze, organized just two weeks earlier on the other side of the Channel (only 2h on the Eurostar). Moreover, a third of the French galleries present at the FIAC were also present at the Frieze… so in the end, the FIAC’s French specificity is relatively small.

In fact, one of the Parisian fair’s principal attractions is probably the exceptional, majestic setting offered by the Grand Palais. However, this superb venue will again be closed for works between 2021 and 2023, so it does rather look as though the FIAC will have to adapt its strategy in order to maintain its influence and ensure that collectors visit the temporary structure that will be installed in the Champ-de-Mars under the Eiffel Tower during the Grand Palais’ closure.

Lots of auction records during Frieze

The auction houses have long understood the importance of organising prestige sales in parallel with the major fairs in order to take full advantage of the concomitant gathering of art professionals and collectors. Last year, 49 auctions were held in Paris (in 39 auction houses) during the FIAC week, generating $134 million in seven days (17% of French auction turnover on Fine Art sales in 2017). The year’s two best results were also hammered during the week on 19 and 20 October 2017: Alberto Giacometti’s Grande femme II (1960) fetched $29.4 million and Jean- Michel Basquiat’s Jim Crow (1986) sold for $17.7 million.

This year again Christie’s, Sotheby’s and Artcurial (the top three French auction houses) are organizing their most important sales of the year in Paris during the FIAC. Others, including Leclere and Cornette de Saint Cyr, are waiting till the end of the event, but will be active as of Monday 22 October.

The major houses hope the spillover from the Paris FIAC will be as beneficial as that from the Frieze on London sales earlier in the month. Banksy’s self-destructing Girl with Balloon (2006) attracted a lot of attention… but there were lots of other memorable results during the week, with three of the autumn’s top ten global auction records, so far. Among these, Jenny Saville’s Propped (1992) – a historical piece from the Young British Artists movement that was part of the Sensation exhibition in 1997 – fetched $12.4 million, a record for a living female artist, overtaking Cady Noland who held that record for three years after her Bluewald (1989) sold for $9.8 million at Christie’s New York on 11 May 2015.

Top 10 auction records a (September – October 2018)

© Artprice.com

Artist – Work – Price – Sale

1 Zao Wou-Ki (1921-2013) – June-October 1985 – $65.204.489 – 30-09-2018 Sotheby’s Hong Kong

2 Jenny Saville (1970) – Propped (1992) – $12.490.583 – 05-10-2018 Sotheby’s London

3 Tsuguharu Foujita (1886-1968) – The party (1949) – $9,366,687 – 11-10-2018 Bonhams London

4 Albert Oehlen (1954) – Stier mit loch (1986) – $4,695,131 – 04-10-2018 Christie’s London

5 Leon Bonnat (1833-1922) – Samson’s Youth (1891) – $2,045,047 – 12-09-2018 Christie’s London

6 Kyung-Ja Chon (1924-2015) – Prairie II (1978) – $1,928,504 – 19-09-2018 K-Auction Seoul

7 Hao Liang (1983) – Shell (2010-2011) – $1,855,061 – 30-09-2018 Sotheby’s Hong Kong

8 Kaws ( 1974) – Again And Again (2008) – $1,348,952 – 05-10-2018 Sotheby’s London

9 Wang Xingwei (1969) – Still no A-mark (1998) – $1,272,479 – 30-09-2018 Sotheby’s Hong Kong

10 Lin Richard (1933-2011) – Painting Relief 12.12.63 – $1,165,161 – 30-09-2018 Sotheby’s Hong Kong

The Art Market nevertheless showed some signs of caution in London, particularly at Christie’s 4 October sale where two star lots, Jeff Koons’ Cracked Egg (Blue) (1994-2006) and Gerhard Richter’s Schädel (1983) failed to sell against estimates exceeding $10 million. However, overall, the initial results of the autumn season are extremely positive, often adding value, occasionally showing restraint… proving that the high-end market is capable of selecting the best pieces and of curbing price growth even for the most fashionable Contemporary artists.

The Paris major auction sales will therefore be held in a particularly favourable context. In addition to the annual sessions of 20th Century Art, the sale of the collections of Oscar Mairlot and Nathalie Seroussi at Sotheby’s and of Benedicte Pesle at Christie’s could well share the spotlight with the FIAC.

thierry Ehrmann : Artprice et Artron donnent naissance au Media Mogul de l’Art

https://www.actusnews.com/fr/ARTPRICE/cp/2018/10/17/artprice-et-artron-donnent-naissance-au-media-mogul-de-l_art

Video : https://vimeo.com/295406694

About Artprice:

Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.

Dicover Artprice in video: https://www.artprice.com/video

Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images(R) gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.

Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications. For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label)Artprice’s Global Art Market Annual Report for 2017 published last March 2018: https://www.artprice.com/artprice-reports/the-art-market-in-2017

Artprice’s Contemporary Art Market Annual Report for 2017 – free access at: https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2017

Artprice’s press releases:

http://serveur.serveur.com/Press_Release/pressreleaseen.htm

https://twitter.com/artpricedotcom

Artmarket News:

https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom

https://www.facebook.com/artpricedotcom & https://plus.google.com/+artpricedotcom/posts

http://artmarketinsight.wordpress.com/

Discover the Alchemy and the universe of Artprice http://web.artprice.com/video, which headquarters are the famous Museum of Contemporary Art, the Abode of Chaos:

http://goo.gl/zJssd

https://vimeo.com/124643720

The Contemporary Art Museum The Abode of Chaos on Facebook: https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999

Contact: ir@artprice.com

12/10/2018 : Artprice et Artron donnent naissance au Media Mogul de l’Art

2018/10/17 Commentaires fermés

(La reprise de cotation a été demandée à Euronext pour l’ouverture de la séance du jeudi 18 octobre 2018.)

Après sept années de travail en commun, d’apprentissage des cultures respectives, de déplacements réguliers entre la Chine et l’Europe, les deux Présidents fondateurs respectifs d’Artron et d’Artprice, Wan Jie et thierry Ehrmann, qui ont exactement le même âge, les mêmes engagements, partagent rigoureusement la même vision du Marché de l’Art mondial et la passion de l’Art avec une amitié et un respect indéfectibles.

Ceci a permis d’insuffler aux deux groupes la capacité à œuvrer de manière extrêmement rapide et sans aucune barrière culturelle pour donner naissance au « Media Mogul de l’Art ». Par analogie c’est exactement comme si Google et Baidu fusionnaient leurs savoirs respectifs.

Voir la vidéo officielle de la cérémonie des signatures au siège social d’Artprice France et la portée des accords de principe du vendredi 12 octobre 2018 :

https://vimeo.com/295406694

Ce vendredi 12 octobre 2018 au siège social d’Artprice, en présence du Président et fondateur d’Artron Wan Jie et de son état-major, de thierry Ehrmann Président fondateur d’Artprice et de l’ensemble de ses collaborateurs, a eu lieu la signature d’un contrat historique entre les deux groupes.

Des différents accords de principe de développement (10) entre les deux groupes ont été échangés lesquels dépassent de très loin les signatures de l’accord commercial majeur de distribution exclusive des abonnements Artprice au cœur de l’Intranet Chinois sur les millions de clients Chinois du Groupe Artron, collectionneurs d’Art en Chine. 

La portée des 10 accords de principe de développement du 12 octobre 2018 (voir ci-dessous) selon les historiens d’Art, impactera et modifiera structurellement le Marché de l’Art mondial et l’Histoire de l’Art comme personne n’aurait pu l’imaginer. De même Artprice et Artron vont effectuer une mutation extraordinaire au cours de laquelle la société Artprice va, pour ses actionnaires, changer totalement de dimension tant sur le plan économique, financier qu’historique, et ce dès 2019.

La suspension du cours d’Artprice par Euronext à la demande d’Artprice devenait indiscutablement une obligation légale pour la société (AVIS EURONEXT N°: PAR_20181012_08570_EUR), compte tenu de la portée soudaine des nouveaux accords de principe diffusés par les médias Chinois qui n’ont pas vocation à intégrer la notion d’information réglementée et l’impact sur le cours d’Artprice.

Artron produit l’intégralité des catalogues des maisons de ventes chinoises et se charge de l’expédition postale ou numérique aux clients finaux des maisons de ventes. Les abonnements Artprice vendus en exclusivité par Artron en Chine pourront ainsi toucher directement le cœur de cible et le client final. 

De même, Artprice sera accessible via la home page d’Artron.Net qui, selon les nombreuses analyses, est la marque la plus respectée dans le Monde de l’Art Chinois. Artron.Net compte plus de 3 millions de membres et enregistre chaque jour plus de 9 millions de visiteurs en ligne (en moyenne) soit 270 millions de visiteurs/mois sur leur site Internet.

Il existe une très forte demande de masse des collectionneurs, professionnels de l’Art et de l’industrie muséale, pour l’achat d’informations à travers Artron des abonnements Artprice incluant ses outils uniques au monde d’aide à la décision leur permettant ainsi d’acquérir des œuvres occidentales en maîtrisant l’intégralité de l’information structurant le prix de l’œuvre, le cursus de l’artiste et son périmètre économique.

Grâce aux conseils avisés d’Artron, Artprice satisfait en tous points au cahier des charges du grand firewall chinois « Grande Muraille Electronique » et ses conditions : Loi CL97 (1997) et suivantes ainsi que le protocole Golden Shield (1998).

Pour cela, Artprice a déployé, notamment sur ses banques de données Internet en mandarin (54 millions de pages en mandarin ayant demandé 7 ans de développement), Alipay et WeChat (1,8 milliard d’utilisateurs) qui sont des plateformes de paiement chinoises obligatoires pour l’acheteur chinois

Pour se conformer à la Loi CL97, Artprice a donc réécrit durant 2 ans l’ensemble de ses codes informatiques ainsi que ses banques de données en supprimant notamment les codes sources de sociétés de droit américain et européen dont les lignes de codes incluent, entre autres, des cookies, balises, Métadonnées ou Backdoors.

A contrario d’Artprice qui est une exception grâce à l’aide et aux conseils d’Artron, aucun GAFA n’a pu pénétrer jusqu’alors le cœur de l’Intranet chinois malgré leurs multiples tentatives.

Ce qui s’est décidé ce vendredi 12 octobre 2018 excède très largement ce qui était prévu initialement. Il est bon de souligner qu’une rencontre au sommet a eu lieu préalablement en mars 2018 à Pékin entre les états-majors d’Artprice et Artron / AMMA. 

Pour comprendre la puissance d’Artron et sa position incontournable en Chine, voir les vidéos d’Artron en langue anglaise :

http://english.artron.com.cn/about/video/index

A propos d’Artron, texte officiel de présentation:

http://english.artron.com.cn/about/introduction/index

Premièrement : la Market Place Normalisée d’Artprice va à terme accueillir électroniquement plus d’un million d’artistes contemporains chinois notoirement connus qui auront la possibilité de se voir attribuer un Artprice store pour vendre à l’Occident l’Art Contemporain chinois. L’infrastructure informatique d’Artprice a déjà anticipé ce nouveau flux exponentiel.

En effet, la mission d’Artron et de son Président Wan Jie, au plus haut niveau du Pouvoir Culturel Chinois, a pour ambition de déployer massivement l’Art contemporain chinois dans le monde. Il faut préciser qu’en Europe et aux USA, on ne dénombre que 120 000 artistes contemporains.

Sur Arte France Allemagne, le film « Chine, un million d’artistes » du célèbre réalisateur Jean-Michel Carré, spécialiste historique de la Chine signe un documentaire exceptionnel de 52mn montrant selon Arte le « gigantisme des ateliers, prolifération des artistes et des lieux d’exposition, écoles d’art qui ne désemplissent pas : décryptage de la frénésie d’art contemporain qui a saisi l’Empire du Milieu, avec de grands noms comme Ai Weiwei, Cang Xin ou He Yunchang. »

Selon Jean-Michel Carré, thierry Ehrmann, sculpteur plasticien depuis 36 ans et fondateur d’Artprice est le seul intervenant occidental à apparaître dans cette production majeure, car Artprice historiquement a été la première au Monde à briser le tabou en certifiant, en 2012, chiffres et audits à l’appui : « La Chine est n°1 mondial du Marché de l’Art devant les USA ».

C’est donc un bouleversement majeur de la Place de Marché Normalisée Artprice qui propose actuellement environ 62 000 œuvres d’art. Par sa place hégémonique en Chine, Artron fournira à terme à la place de Marché Artprice plusieurs dizaines de millions de nouvelles œuvres en ligne, engendrant donc un véritable choc pour le Marché de l’Art mondial.

Artprice va devenir de facto le hub de référence pour l’Art Chinois et l’interface privilégiée vers la Chine pour tous les collectionneurs et professionnels de l’Art et bien entendu pour les clients d’Artprice.

Deuxièmement : Le Groupe Artron est devenu la plus grande institution mondiale de services artistiques et de production de livres d’art en imprimant plus de 60 000 livres, 300 millions de volumes de publications, catalogues de ventes publiques avec des prestations artistiques de haute qualité aux artistes, musées, galeries, institutionnels, collectionneurs et professionnels chaque année depuis 25 ans. (Source Artron) 

A ce titre, Artron possède des milliards de data à plat d’une grande pertinence jamais ou peu exploitées et qui seront confiées à Artprice pour progressivement enrichir les banques de données grâce à l’expertise d’Artprice et de Groupe Serveur présent sur Internet depuis 1985, d’abord en matière de fouilles de données, Datamining puis de Big Data et désormais d’algorithmes d’intelligence artificielle. 

Troisièmement : La mise en commun des sources de documentation d’Artprice et d’Artron à travers les siècles, livres anciens calligraphiques, parchemins, manuscrits, catalogues de ventes constituant ainsi la naissance de ce « Media Mogul de l’Art » avec le plus grand fonds mondial de l’Histoire du Marché de l’Art qui pourra rivaliser avec ceux des grandes bibliothèques d’Art mondiales. Ce sont des millions de nouvelles ressources documentaires pour les banques de données.

Quatrièmement : L’apport par le Groupe Artron de 900 ans d’œuvres d’Art chinoises signées aux enchères sur lesquelles Artprice va appliquer sa méthode des ventes répétées, méthode scientifique permettant, à partir d’une œuvre unique, dont on connaît la traçabilité, de pouvoir produire des indices et cotes scientifiquement irréprochables. 

Cela permettra à Artron et à la Chine, sur leur propre Marché de l’Art, d’enfin rivaliser avec l’Europe et les USA en matière d’analyses macro et microéconomiques sur plusieurs siècles. Cela remettra en question les préjugés sur l’Histoire du Marché de l’Art chinois très antérieur au Marché de l’Art européen.

Cinquièmement : Artron a exprimé un besoin essentiel, de la part des acteurs du Marché de l’Art chinois, d’une cotation incontestable des œuvres d’art qui est le cœur de métier d’Artprice afin de pouvoir établir une juste et impartiale taxation dans le marché intérieur chinois ainsi que pour l’import-export des œuvres d’art. 

Selon Artron, seule l’expertise économétrique d’Artprice (associée à Artron) va pouvoir donner une fluidité extraordinaire au Marché de l’Art en Chine et satisfaire les autorités fiscales, administratives et douanières. Cette demande, d’après Artron et son Président Wan Jie, est colossale et seul un tiers certificateur comme Artprice, Leader mondial de l’Information sur le Marché de l’Art, faisant autorité dans le monde, peut la satisfaire en toute légitimité. 

C’est l’exemple type d’un marché intérieur que seul un acteur central du marché de l’Art chinois connaît. Cette information capitale n’est jamais sortie par voie de presse et/ou n’a jamais été commentée par des économistes ou des sociologues.

Sixièmement : Artron produit les catalogues d’expositions en Chine qui comptent chaque année 5 000 expositions et foires de portée internationale de la taille de la Frieze et la FIAC en Europe. Artprice, par sa banque de données Events/expositions-foires, va pouvoir diffuser en mode «Freemium» une information très qualitative qu’aucune entreprise occidentale ne possède. Artron possède un très grand nombre de droits de reproduction des œuvres, paramètre indispensable pour qu’Artprice puisse faire la promotion des 5 000 expositions et foires chinoises de portée internationale.

Septièmement : Mise en place par Artprice avec les équipes d’Artron, qui comptent 3 000 collaborateurs félicités par le Président Wan Jie durant le discours des signatures, d’indicateurs économiques, d’indices, de classements, de dépêches d’agence de presse et de rapports sur le Marché de l’Art Chinois lequel, pour le moment, ne possède pas ces données nécessaires à sa transparence et son efficience, ce qui est une nécessité absolue pour le Président Wan Jie.

Huitièmement : Il existe, selon Artron, un marché extrêmement important concernant l’accès aux estimations d’œuvres d’art, principalement pour les œuvres occidentales, par les clients chinois. Le service haut de gamme payant Artpricing d’Artprice répond parfaitement au besoin d’Artron et de ses clients. 

Neuvièmement : Intégration sur les banques de données d’Artprice des biographies des principaux artistes chinois constituant le noyau dur du Marché de l’Art entre Pékin, Hong Kong et New York, permettant de mettre en lumière les mécanismes des mouvements des œuvres d’Art jusqu’alors réservés aux seuls initiés sur ce redoutable triangle financier générant des plus-values parfois spectaculaires.

Dixièmement : La mise en place à terme d’une normalisation, par le savoir-faire d’Artprice avec Artron, en normes internationales reconnues par l’ensemble des organisations mondiales, aboutira à une nomenclature normalisée du Marché de l’Art Occident / Grande Asie qui faisait défaut jusque-là. Artprice, pour mémoire, par le rachat de la société scientifique Suisse Xylogic en 1999, détient le process protégé de la normalisation propre au Marché de l’Art.

Le contrat de distribution exclusive des abonnements Artprice par Artron à ses clients et les dix nouveaux accords de principe supplémentaires pourront s’appliquer très rapidement du fait de la connaissance mutuelle des deux sociétés issue de 7 années de partenariat constant. Artprice démontre par cette alliance avec Artron que la patience et le labeur se mesurent a minima en années et non en trimestres.

Enfin, en 2018 la Chine comptait pour 45 % des échanges en ligne mondiaux, réalisant 12 fois plus de transactions en ligne que les USA. La Chine a l’immense avantage sur l’Occident de construire son économie de marché directement sur la base d’Internet. De même, d’un avis unanime, la Grande Asie va peser 70% du Marché de l’Art dès 2020. Artprice, en tant que Leader mondial de l’information sur le Marché de l’Art, se devait d’être au cœur de son marché. Pour rappel la France pesait 4% au 1S 2018.

D’autres extraits vidéos et photos des signatures et discours seront en ligne prochainement sur les réseaux sociaux d’Artprice et d’Artron.

Concernant l’historique conséquent de la construction des relations entre Artprice et Artron / AMMA et les conséquences économiques, il faut se référer aux documents de référence d’Artprice et notamment au document de référence 2017 déposé auprès de l’AMF le 1er Juin 2018 en application du règlement général notamment l’article 212-13, ainsi qu’aux communiqués.

A propos d’Artprice :

Artprice est cotée sur Eurolist by Euronext Paris, SRD long only et Euroclear : 7478 – Bloomberg : PRC – Reuters : ARTF.

Découvrir Artprice en vidéo : https://fr.artprice.com/video

Artprice est le Leader mondial des banques de données sur la cotation et les indices de l’Art avec plus de 30 millions d’indices et résultats de ventes couvrant plus de 700 000 Artistes. Artprice Images® permet un accès illimité au plus grand fonds du Marché de l’Art au monde, bibliothèque constituée de 126 millions d’images ou gravures d’oeuvres d’Art de 1700 à nos jours commentées par ses historiens.

Artprice enrichit en permanence ses banques de données en provenance de 6300 Maisons de Ventes et publie en continu les tendances du Marché de l’Art pour les principales agences et 7200 titres de presse dans le monde. Artprice met à la disposition de ses 4,5 millions de membres (members log in), les annonces déposées par ses Membres, qui constituent désormais la première Place de Marché Normalisée® mondiale pour acheter et vendre des oeuvres d’Art à prix fixe ou aux enchères (enchères réglementées par les alinéas 2 et 3 de l’article L 321.3 du code du commerce).

Artprice, labellisée par le BPI, développe son projet de Blockchain sur le Marché de l’Art.

Bilan S1 2018 Mondial du Marché de l’Art, par Artprice en ligne sur :

https://fr.artprice.com/artprice-reports/bilan-du-marche-de-lart-s1-2018-par-artprice-com

Le Rapport Annuel Artprice du Marché de l’Art mondial 2017 publié en mars 2018 :

https://fr.artprice.com/artprice-reports/le-marche-de-lart-en-2017

Le rapport du Marché de l’Art Contemporain 2018 d’Artprice :

https://fr.artprice.com/artprice-reports/le-marche-de-lart-contemporain-2018

Sommaire des communiqués d’Artprice :

http://serveur.serveur.com/press_release/pressreleasefr.htm

https://twitter.com/artpricedotcom

Suivre en temps réel toute l’actualité du Marché de l’Art avec Artprice sur Facebook, Google+ Twitter :

https://www.facebook.com/artpricedotcom 3 millions d’abonnés

https://twitter.com/artpricedotcom&https://twitter.com/artmarketdotcom

https://plus.google.com/+Artpricedotcom/posts

http://artmarketinsight.wordpress.com/

Découvrir l’alchimie et l’univers d’Artprice http://web.artprice.com/video dont le siège social est le célèbre Musée d’art contemporain Abode of Chaos / Demeure du Chaos 3,1 millions d’abonnés :http://goo.gl/zJssdhttps://vimeo.com/124643720

Musée d’Art Contemporain siège social d’Artprice :

https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999

Contact ir@artprice.com

 

Artprice presents its 2018 Contemporary Art Market Report ahead of the Frieze and the FIAC: Plus 1,744% turnover growth in 18 years, an 8.1% annual yield.

2018/10/01 Commentaires fermés

Artprice presents its 2018 Contemporary Art Market Report ahead of the Frieze and the FIAC: Plus 1,744% turnover growth in 18 years, an 8.1% annual yield.

Artprice, founded and presided by thierry Ehrmann, achieves in close collaboration with its Chinese institutional partner the group Artron/AMMA (Art Market Monitor of Artron) founded and presided by WAN Jie, its 21st report.

A full market is now active on 5 continents.

The almost parallel increases over the 12 months to June 2018 in the Contemporary Art Market’s three main indicators (+19% global turnover, +17% lots sold and +18% in the segment’s price index) suggests a very rapid and balanced growth of Contemporary Art sales worldwide.

The average annual financial return, currently +8.1% on Contemporary works, looks very attractive indeed in the context of negative or near-zero rates that erode cash savings.

The Artprice Contemporary Art Market Report 2018, an indispensable tool for anyone attending the big autumn fairs, particularly the Frieze and the Fiac, is available free of charge at the following address:

https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2018

N.B. for the purposes of our report

Contemporary Art = works created by artists born after 1945

Fine Art = painting, sculpture, drawing, photography, videos, prints, installations

Period analysed: 1 July 2017 – 30 June 2018

The 66,850 transactions hammered over the 12month period reflect a market of unprecedented intensity. Since 2000/2001, the number of transactions has multiplied 5.5 times. Over the same period, global turnover has risen + 1,744% from $103 million to $1.9 billion. The average price of a Contemporary work has risen from $8,400 at the turn of the 21st century to $28,000 today. Moreover, today’s Contemporary Art Market offers unprecedented diversity: 20,335 artists born after 1945 recorded at least one auction result over the 12 month period, nearly five times more than in 2000/2001 (4,100 Contemporary artists).

According to thierry Ehrmann, Artprice’s founder and CEO, “We have had a period of restructuring that lasted roughly three years; but the Contemporary Art Market is now back on a much stronger footing. Although prices are indeed rising again, there is a much broader supply that allows a better selection of works… and the perfectly stable unsold rate, at 39%, guarantees a balanced market.

The United Kingdom ($545 million) and mainland China ($298 million) both posted excellent turnover totals, up 55% and 15% respectively. On the other hand, the USA posted a 13% contraction versus the year-earlier period that was boosted by the exceptional record of $110.5 million for Jean-Michel Basquiat’s Untitled (1984).

London, New York, Beijing and Hong Kong alone account for 82% of global auction sales of Contemporary Art, from just 17% of the global lots sold.

The French market posted a remarkable performance with sales of Contemporary Art up 81% during the 12-month period to $71 million. In the rest of Europe, Germany (+40%), Italy (+31%) and Belgium (+27%) consolidated their 5th, 7th and 10th places respectively on the global Contemporary Art Market. Elsewhere, several countries contributed to the market’s growth around the globe: Japan (+22%), Australia (+15%), South Korea (+15%), South Africa (+25%).

Key figures:

  1. Global turnover was up 19% to $1.9 billion

  2. The number of lots sold rose by 17%, with 66,850 auction results

  3. The global unsold rate remained stable at 39%

  4. The Contemporary Art Price Index posted an increase of 18.5%

  5. Since 2000/2001, global turnover has risen 1,744%, from $103 million to $1.9 billion

  6. Since 2000/2001, the lots sold total has multiplied 5.5x from 12,300 to 66,850

  7. Contemporary Art auction results were recorded in 59 countries last year

  8. New York, London, Beijing and Hong Kong accounted for 82% of turnover, on 17% of global lots sold

  9. Greater China (Hong Kong and Taiwan included) generated $480m, i.e. 26% of the global market

  10. Europe had an exceptional year: France +81%, Germany +40%, Italy +31%

  11. The Netherlands, Belgium and Austria each generated over $8 million

  12. South Korea ($8 million) and the Philippines ($5 million) bring Southeast Asia into the global market

  13. Australia ($10 million) and New Zealand ($5 million) are in the top 20 marketplaces

  14. South Africa ($6 million) leads Africa, with Morocco and Nigeria far behind

  15. The Middle East is represented by Turkey ($5 million), Iran ($3 million), UAE ($2 million) and Israel ($1 million)

1. General synopsis. Contemporary Art’s market performance

Available for free online, the new 2018 Artprice Contemporary Art Market Report provides decision support tools via four chapters that analyse the evolution, the organization and the latest trends in the Contemporary Art Market. The four chapters explore the hottest topics in the global market and provide answers to questions that any art lover, collector, professional or curator who is active in the Contemporary Art Market might have.

2. Artists’ prices

Stimulated by a sensational record of $110.5 million in May 2017, the Contemporary art Market has just ended a third consecutive semester of growth. The principal drivers of this growth are ever-stronger demand for works by the stars of Contemporary art and a proliferation of supply in a particularly favorable economic context.

3. Africa and its diasporas

From the construction of a market for African Contemporary art in France… to the explosion of African-American art in the United States: a brief look at the “African” wave sweeping across the entire Art Market.

4. In the news

She’s French, but has ‘emerged’ in England. Laure Prouvost already has a brilliant career with a superb CV: she studied at Central Saint Martins (cinema) and Goldsmiths College, received the Max Mara Award in 2011 followed by an exhibition at the Whitechapel Gallery, before winning the famous Turner Prize in 2013.

Top 100 Contemporary works sold at auction (July 2017 June 2018)

Top 500 Contemporary artists by auction turnover (July 2017 June 2018)

Contemporary Art (12% of the global Art Market compared with just 2.8% in 2000) cannot be measured using the same yardstick we use for Impressionist or Modern Art. Over the same period, its auction turnover has increased +1,744% from $103 million to $1.9 billion. The popularity and prices indices of a Contemporary artist are highly sensitive to a range of different factors, constantly subject to the influence of events and “art news” in general.

In order to study this reality, Artprice – the world leader in art market informationhas developed a new method of analysis and a range of decision support tools in collaboration with its econometrists, its editorial team and it art historians. The result is a methodology that provides optimum insight into the market’s price developments.

According to thierry Ehrmann, The myth of the wretched artist is no longer relevant to the modern era and the old notion that the only good artist is a dead artist has been consigned to oblivion.

This 2018 Contemporary Art Market Report (its 21st since 1997) goes straight to the heart of this fascinating issue… the role of artists in the modern era. I believe we can safely agree with the poetic understanding of this role enunciated by the philosopher Giorgio Agamben: that a Contemporary (artist) is he who firmly holds his gaze on his own time so as to perceive not its light, but rather its darknessa role that is being revived from a long slumber.

In a standardised and globalised world, the Contemporary artist brings us that extra soul which we are constantly in need of.« 

http://www.artprice.com Copyright thierry Ehrmann1987/2018

About Artprice:

Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.

Dicover Artprice in video: https://www.artprice.com/video

Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images(R) gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.

Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications. For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label)Artprice’s Global Art Market Annual Report for 2017 published last March 2018: https://www.artprice.com/artprice-reports/the-art-market-in-2017

Artprice’s Contemporary Art Market Annual Report for 2017 – free access at: https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2017

Artprice’s press releases:

http://serveur.serveur.com/Press_Release/pressreleaseen.htm

https://twitter.com/artpricedotcom

Artmarket News:

https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom

https://www.facebook.com/artpricedotcom & https://plus.google.com/+artpricedotcom/posts

http://artmarketinsight.wordpress.com/

Discover the Alchemy and the universe of Artprice http://web.artprice.com/video, which headquarters are the famous Museum of Contemporary Art, the Abode of Chaos:

http://goo.gl/zJssd

https://vimeo.com/124643720

The Contemporary Art Museum The Abode of Chaos on Facebook: https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999

Contact: ir@artprice.com

La vidéo du siège social d’Artprice, parmi les plus vues sur Facebook avec plus de 10 millions de vues sur le Musée d’Art Contemporain l’Organe gérant La Demeure du Chaos.

2018/08/20 Commentaires fermés

La vidéo du siège social d’Artprice, parmi les plus vues sur Facebook avec plus de 10 millions de vues sur le Musée d’Art Contemporain l’Organe gérant La Demeure du Chaos.

Au mois d’Avril 2018, Artprice, Leader mondial de l’information sur le Marché de l’Art et son siège social le Musée d’Art Contemporain L’Organe gérant l’ERP La Demeure du Chaos, ont été contactés par Antoine de Caunes, CANAL PLUS, afin de réaliser le tournage d’un sujet pour l’émission « La Gaule d’Antoine », pour une première diffusion début Mai 2018. Le principe de cette émission est de parcourir les 13 régions de France pour en faire connaître leurs lieux incontournables et spécifiques, après une sélection pointue.

Le professionnalisme et l’implication d’Antoine de Caunes ont su synthétiser ce que représente Artprice et le Musée d’Art Contemporain La Demeure du Chaos / Abode of Chaos, dixit The New York Times, son siège social, tant par son commentaire que par ses images, couverts en 20 ans par plus de 2700 médias internationaux de presse écrite et audiovisuelle. 

Cette vidéo est devenue en l’espace de quelques semaines une vidéo culte sur Facebook. Elle dépasse aujourd’hui 10 millions de vues. (P.V. d’huissier SCP Estelle PONS – Sarah MERGUI du 20.8.2018).

Le constat d’huissier porte sur 2 URL pointant sur la vidéo Facebook du documentaire Canal + qui appartiennent d’une part, à la  page monde Facebook d’Artprice avec 2.7 millions d’abonnés et la page monde du Facebook du Musée d’Art Contemporain L’Organe, gérant l’ERP La Demeure du Chaos/ Abode of Chaos avec ses 2.9 millions d’abonnés.


C’est dire l’incroyable audience rencontrée par la vidéo de l’émission « la Gaule d’Antoine » sur son le Musée d’Art Contemporain L’Organe gérant l’ERP La Demeure du Chaos siège social d’Artprice à travers le Monde.

thierry Ehrmann: « Cette adhésion internationale montre à quel point le Musée d’Art Contemporain l’Organe gérant l’ERP La Demeure du Chaos, porte un message artistique universel. Le fait qu’elle abrite le siège social d’Artprice est le support idéal pour véhiculer l’image d’Artprice en sa qualité de leader mondial, dans le monde de l’Art. »

La page monde Facebook d’Artprice avec 2.7 millions d’abonnés et la page monde du Facebook du Musée d’Art Contemporain L’Organe, gérant l’ERP La Demeure du Chaos/ Abode of Chaos avec ses 2.9 millions d’abonnés reflètent un taux de satisfaction exceptionnel sur un documentaire vidéo vu plus de 10 millions de fois avec un nombre de gens qui n’adhère pas extrêmement faible dans l’univers du marketing B to B et B to C.

En effet, on compte un taux de satisfaction de 99.855% sur la page Facebook Artprice et de 99.724% pour celle de la Demeure du Chaos. (P.V. d’huissier SCP Estelle PONS – Sarah MERGUI du 20.8.2018). On note dans le même P.V. d’huissier en mode administrateur

6,5 millions de portée de publications/semaine.

Il est bon de préciser aussi qu’Artprice et la Demeure du Chaos sont à l’origine du célèbre classement Grand Lyon La Métropole Culture Facebook Google qui a 7 ans et qui en est au 59 ème classement.

En effet le Musée d’Art Contemporain L’Organe, gérant l’ERP La Demeure du Chaos/ Abode of Chaos a souhaité depuis 7 ans mesurer son empreinte sur Facebook face à 25 acteurs culturels du Grand Lyon qui sont de véritables marqueurs culturels: La Fête des Lumières, Musée d’Art Contemporain Lyon, Musée des Beaux-Arts de Lyon, La Biennale d’Art contemporain, Festival Lumière, Institut d’Art Contemporain, Institut Lumière, La Biennale de la Danse de Lyon,  Le Transbordeur, Les Nuits de Fourvière, Les Nuits Sonores, Maison de la Danse,  Musée des Confluences, Opéra de Lyon, Orchestre National de Lyon, Quai du Polar, Théâtre de la Croix-Rousse, Théâtre des Célestins, TNP Villeurbanne, Le Sucre, Reperkusound, Invites de Villeurbanne, Ninkasi, Les Subsistances.

Groupe Serveur et Artprice ont choisi ces acteurs culturels parmi les beaux-arts, l’art contemporain, le théâtre, la danse, la musique, le cinéma et la littérature. Le département économétrie de Groupe Serveur et d’Artprice possède un algorithme original propriété au titre de la propriété intellectuelle qui calcule « l’engagement logarithmique ». Cette formule mathématique est accessible en ligne à l’adresse suivante :

https://artpressagency.wordpress.com/2018/07/28/thierry-ehrmann-en-avant-premiere-le-classement-n59-exclusif-de-aout-2018-des-principaux-acteurs-culturels-du-grand-lyon-la-metropole/

Le résultat est sans appel le Musée d’Art Contemporain L’Organe, gérant l’ERP La Demeure du Chaos/ Abode of Chaos est d’une part le 1er Musée d’Art Contemporain Rhône Alpes avec 180 000 visiteurs par an et d’autre part 1er en terme d’abonnés, avec 2 963 000 et un engagement logarithmique exceptionnel de 75.

De même en notation Google des visiteurs dans les musées d’Art, le Musée d’Art Contemporain L’Organe, gérant l’ERP La Demeure du Chaos/ Abode of Chaos arrive n°1 devant 3 institutions avec 4.6, en n°2 le Musée des Beaux-Arts de Lyon avec 4.4, en n°3 le Musée d’Art Contemporain de Lyon avec 4.1 et en n°4 l’Institut d’Art Contemporain avec 4.0.

Dans le monde de l’économie les grandes marques mondiales, dont la plupart sont attachées à la récente Coupe du Monde de Football 2018 et la victoire de la France, ont connu des scores bien inférieurs la performance de notre vidéo, voir les scores des vidéos de CIC, Easy Voyage, LG France, Carrefour, SFR, Orange France, McDonalds France, Groupe APRR sur : http://www.e-marketing.fr/Thematique/veille-1097/Breves/Les-meilleures-videos-marques-diffusees-Facebook-333124.htm 

Remerciements rédaction e-marketing.fr en collaboration avec NukeSuite 

A titre de comparaison, au-delà des marques, en secteur show business, la vidéo de Madonna pour son 60ème anniversaire totalise ce jour 216k vues sur sa page Facebook officielle. Sur celle de la NASA, organisme mondial, qui compte pourtant plus de 21 millions d’abonnés, la vidéo la plus vue du mois d’Août affiche 566k vues.

Pour rappel, Artprice avait pris l’engagement, lors de son A.G. le 30 juin 2017, de prendre la 1ère place en matière d’information sur le Marché de l’Art sur les réseaux sociaux où elle comptait 345 K d’abonnés. Pour réaliser cet objectif très ambitieux, Artprice et son entité Artmarket.com devaient conquérir plus d’un million d’abonnés à leurs publications sur la période 2S 2017/1S2018.

Pari réussi, au-delà de l’objectif avec 676% de croissance sur la période juillet 2017 / Juillet 2018 pour la page Artprice, ce qui la place parmi les pages les plus suivies au Monde, avec 2 792 660 millions d’abonnés au 20 Août 2018.

De grands groupes internationaux cotés ont cru s’exonérer de la complexité des réseaux sociaux et subissent le retard fatal générant des préjudices économiques importants qui remettent en question leur position. Même avec un budget financier exceptionnel le retard accumulé ne peut pas être compensé du fait de l’architecture élaborée des réseaux sociaux. Certains groupes du S&P500 en sont des exemples probants.

Désormais l’empreinte sur les réseaux sociaux est l’un des paramètres primordiaux et vitaux pour qui veut préserver le capital entreprise et son avenir, avec bien évidemment, sa notoriété et visibilité à travers le Monde, ce qui est le cas d’Artprice en tant que Leader mondial de l’information sur le Marché de l’Art ainsi que sa Place de Marché Normalisée Artmarket.com .

C’est pour cette raison qu’Artprice a privilégié très tôt cet axe de communication, anticipant depuis longtemps le poids des réseaux sociaux dans son marketing, ses banques de données, ses équipes informatique et ses forces de ventes, forgeant chaque jour un peu plus son expérience dans les multiples réseaux sociaux pour générer des millions de nouveaux membres qualifiés pour les multiples abonnements payants à ses banques de données.

Copyright www.artprice.com 1987-2018 thierry Ehrmann

A propos d’Artprice :

Artprice est cotée sur Eurolist by Euronext Paris, SRD long only et Euroclear : 7478 – Bloomberg : PRC – Reuters : ARTF.

Découvrir Artprice en vidéo : https://fr.artprice.com/video

Artprice est le Leader mondial des banques de données sur la cotation et les indices de l’Art avec plus de 30 millions d’indices et résultats de ventes couvrant plus de 700 000 Artistes. Artprice Images® permet un accès illimité au plus grand fonds du Marché de l’Art au monde, bibliothèque constituée de 126 millions d’images ou gravures d’oeuvres d’Art de 1700 à nos jours commentées par ses historiens.

Artprice enrichit en permanence ses banques de données en provenance de 6300 Maisons de Ventes et publie en continu les tendances du Marché de l’Art pour les principales agences et 7200 titres de presse dans le monde. Artprice met à la disposition de ses 4,5 millions de membres (members log in), les annonces déposées par ses Membres, qui constituent désormais la première Place de Marché Normalisée® mondiale pour acheter et vendre des oeuvres d’Art à prix fixe ou aux enchères (enchères réglementées par les alinéas 2 et 3 de l’article L 321.3 du code du commerce). Artprice labellisée par le BPI développe son projet de Blockchain sur le Marché de l’Art.

Bilan S1 2018 Mondial du Marché de l’Art, par Artprice en ligne sur :

https://fr.artprice.com/artprice-reports/bilan-du-marche-de-lart-s1-2018-par-artprice-com

Le Rapport Annuel Artprice du Marché de l’Art mondial 2017 publié en mars 2018 :
https://fr.artprice.com/artprice-reports/le-marche-de-lart-en-2017
Le rapport du Marché de l’Art Contemporain 2017 d’Artprice :
https://fr.artprice.com/artprice-reports/le-marche-de-lart-contemporain-2017
Sommaire des communiqués d’Artprice :
http://serveur.serveur.com/press_release/pressreleasefr.htm
https://twitter.com/artpricedotcom

Suivre en temps réel toute l’actualité du Marché de l’Art avec Artprice sur Facebook, Google+ Twitter :
https://www.facebook.com/artpricedotcom 2,7 millions d’abonnés
https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom
https://plus.google.com/+Artpricedotcom/posts
http://artmarketinsight.wordpress.com/


Découvrir l’alchimie et l’univers d’Artprice 
http://web.artprice.com/video dont le siège social est le célèbre Musée d’art contemporain Abode of Chaos / Demeure du Chaos 2,9 millions d’abonnés : http://goo.gl/zJssd https://vimeo.com/124643720
Musée d’Art Contemporain siège social d’Artprice :
https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999
Contact 
ir@artprice.com

Artprice: H1 2018 Global Art Market Report – all indicators are positive.

2018/08/06 Commentaires fermés

First Half 2018: the Art Market posted a general recovery of +18%

1 Global auction turnover on Fine Art* rose 18%, totalling $8.45 billion

2 Transaction numbers remained stable with 262,000 lots sold, up 2.5% vs. H1 2017

3 The USA posted a massive 48% increase, with total turnover of $3.3 billion

4 China*, with $2 billion in turnover, reduced its unsold rate before a decisive H2

5 The UK, with auction turnover up 18% to $1.9 billion, is just behind China

6 The EU is contributing to growth: France +8%, Germany +17%, Italy +22%

7 Modern Art, the mainstay of the market’s high-end, accounted for 46% of total turnover

8 Modigliani and Picasso both scored results above $100 million threshold

9 Zao Wou-Ki was China’s best-performer in H1 2018 with total sales of $155 million

10 Contemporary Art’s global price index rose 27%, a serious competitor of the S&P 500

* Public sales of Fine Art (Painting, Sculpture, Drawing, Photography, Prints, Installations)

**In collaboration with Art Market Monitor of Artron (AMMA)

General conclusion…

Worldwide, the Art Market grew by +18% in H1 2018, pursuing the growth we saw in H1 2017 (+9%) and confirmed in H2 2017 (+32%).
Global figures

At a global level, more than 262,000 Fine Art lots were auctioned in the first six months of 2018, generating a total product of $8.45 billion (including fees). Artprice, the world leader in Art Market information since 1987, has systematically analysed and digested the results of more than 3,532 auction sales around the world. This half-year report covers public sales of Fine Art (painting, sculpture, drawing, photography, prints and installations).

Read Artprice.com’s H1 2018 Global Art Market Report online at: https://www.artprice.com/artprice-reports/global-art-market-in-h1-2018-by-artprice-com

According to thierry Ehrmann, Artprice founder and CEO, “Since the turn of the century, the Art Market has demonstrated an exceptionally high degree of maturity, resisting the NASDAQ crisis, the consequences of nine-eleven, of the second Iraq war and of course the unprecedented financial and economic crises that started in 2007. Since then, it has been operating against a backdrop of negative interest rates that undermine the value of savings and, more recently, in a global context of heightening geopolitical tensions. During these past 18 years, the Art Market has managed to adapt to reality, not only avoiding its own collapse in the face of financial crises, but actually creating a genuine investment safe-haven without forming a speculative bubble.

The attractive returns on art over the last few years have outperformed many other investments and the Art Market has become an independent, liquid and efficient market on all continents.

Top 10 Countries by Auction Turnover H1 2018

Country – Turnover – (Market Share)

1 United States – $3,341,746,766 – (39.6%)

2 China – $1,997,226,110 – (23.6%)

3 United Kingdom – $1,873,284,804 – (22.2%)

4 France – $372,461,596 – (4.4%)

5 Germany – $122,765,010 – (1.5%)

6 Italy – $118,907,954 – (1.4%)

7 Switzerland – $76,847,823 – (1.3%)

8 Japan – $66,901,157 – (0.9%)

9 Austria – $53,562,620 – (0.8%)

10 India – $38,351,733 – (0.6%)

Other: – $383,793,555 – (5.0%)

The Top 500 artists by sales product indicates China has acquired, over he years, a significant position in the Art Market and now boasts 128 of the world’s 500 most-rated artists, far ahead of the United States (82) and Great Britain (27).

The data pertaining to the Chinese Art market is the fruit of Artprice’s 7-year collaboration with its Chinese institutional partner, Artron Group and AMMA (Art Market Monitor by Artron), directed by Wan Jie.

Despite a relatively unfavourable economic context, the global art market has shown signs of buoyancy, driven by a powerful combination of investment logic, speculative buying, passion collecting and insatiable demand for major signatures from new museums around the world.

These growth drivers rely heavily on easy access to reliable Art Market information such as provided by Artprice (pioneer and global leader in the field) and have been boosted by a whole series of underlying phenomena. These include a rapidly spreading awareness that every aspect of participation in the art market, including online sales, can be conducted via the Internet (98% of participants are connected to Internet); a financialisation of the art market’s high-end fostered by its stability and transparency; a rapid increase in the art-buying population from roughly 500,000 after 1945 to approximately 90 million in 2018; a significant reduction in the average age of market players and a major geographical expansion of the market to nearly all of Asia, the Pacific Rim, India, South Africa, the Middle-East and South America

Another massive Art Market driver is the new-era museum industry (700 new museums per year) that has become a significant economic reality in the 21st century. More museums opened between 2000 and 2014 than in the previous two centuries.

Hungry for museum quality works, this sector is one of the primary drivers of the Art Market’s spectacular growth. The Art Market is now both mature and liquid, offering yields of 10% to 15% per year on works valued over $100,000.

Considering these macro- and micro-economic data, the past 18 years have confirmed the Art Market’s potential as a safe haven against economic and financial turbulence, generating substantial and recurring yields.

With central banks effectively working in a negative interest rate environment, the Art Market looks very healthy by comparison having posted a 2,108% growth in the annual auction turnover of its Contemporary segment over the past 18 years. The global Art Market has also posted linear growth

In the average value of an artwork (Old, Modern and Contemporary) of +25% over the same period. If we look at the Contemporary segment alone, the progression is +88%.

These returns are not just reserved for “star” artists. We find a substantial average annual yield of +9% on works sold above the €20,000 threshold.

The Artprice100® shows a progression of +360% since 2000. About Artprice100® :

https://www.actusnews.com/fr/ARTPRICE/cp/2018/01/31/artprice-launches-its-blue-chip-art-market-index-artprice100-reg-designed-for-financiers-and-investors

The Art Market is an efficient, historical and global market whose capacity to resist economic and geopolitical crises requires is now beyond doubt.
TOP 20 artists – H1 2018 © Artprice com

Artist — Turnover (USD) — Number of works sold — Best result (USD)

1 Pablo PICASSO (1881-1973) – $602,865,747 – 1,841 – $115,000,000

2 Claude MONET (1840-1926) – $267,055,149 – 22 – $84,687,500

3 Andy WARHOL (1928-1987) – $175,393,487 – 778 – $37,000,000

4 Jean-Michel BASQUIAT (1960-1988) – $162,756,656 – 64 – $45,315,000

5 Amedeo MODIGLIANI (1884-1920) – $160,869,523 – 22 – $157,159,000

6 ZAO Wou-Ki (1921-2013) – $154,558,288 – 268 – $23,305,301

7 Henri MATISSE ( 1869-1954) – $144,675,227 – 227 – $80,750,000

8 ZHANG Daqian (1899-1983) – $107,478,086 – 283 – $13,129,521

9 Kasimir MALEVICH (1878-1935) – $96,248,783 – 6 – $85,812,500

10 Joan MIRO (1893-1983) – $87,818,817 – 696 – $21,687,500

11 Gerhard RICHTER (1932-) – $80,720,365 – 177 – $16,563,000

12 David HOCKNEY (1937-) –$77,358,842 – 214 – $28,453,000

13 Alberto GIACOMETTI (1901-1966) – $73,528,071 $ – 74 – $16,647,567

14 Francis BACON (1909-1992) –$73,156,871 – 58 – $49,812,500

15 Constantin BRANCUSI (1876-1957) –$71,921,220 – 3 – $71,000,000

16 QI Baishi (1864-1957) – $64,402,510 – 169 – $8,753,015

17 Paul GAUGUIN (1848-1903) – $63,511,735 – 34 – $35,187,500

18 Fernand LÉGER (1881-1955) – $ 62,655,125 – 122 – $19,437,500

19 Richard DIEBENKORN (1922-1993) – $62,311,216 – 54 – $23,937,500

20 Yayoi KUSAMA (1929-) – $61,861,631 – 344 – $4,534,985

Top 10 auction results in H1 2018 © Artprice com

Artist Work Price (USD) Date Auctioneer

1 Amedeo MODIGLIANI (1884-1920) – Nu couché (sur le côté gauche) (1917) – $157,159,000 – 14/05/2018 – Sotheby’s New York

2 Pablo PICASSO (1881-1973) – Fillette à la corbeille fleurie (1905 ) – $115,000,000 – 08/05/2018 – Christie’s New York

3 Kasimir MALEVICH (1878-1935) – Suprematist Composition (1916) – $85,812,500 – 15/05/2018 – Christie’s New York

4 Claude MONET (1840-1926) – Nymphéas en fleur (c.1914-1917) – $84,687,500 – 08/05/2018 – Christie’s New York

5 Henri MATISSE (1869-1954) – Odalisque couchée aux magnolias (1923) – $80,750,000 – 08/05/2018 – Christie’s New York

6 Constantin BRANCUSI (1876-1957) – La jeune fille sophistiquée (1928) – $71,000,000 – 15/05/2018 – Christie’s New York

7 Pablo PICASSO (1881-1973) – Femme au béret et à la robe quadrillée (1937) – $68,702,214 – 28/02/2018 – Sotheby’s London

8 Pablo PICASSO (1881-1973) – La Dormeuse (1932) – $57,829,046 – 08/03/2018 – Phillips London

9 Francis BACON (1909-1992) – Study for Portrait (1977) – $49,812,500 – 17/05/2018 – Christie’s New York

10 Jean-Michel BASQUIAT (1960-1988) – Flexible (1984) – $45,315,000 – 17/05/2018 – Phillips New York

Copyright www.artprice.com thierry Ehrmann 1987/2018

About Artprice:

Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.

Dicover Artprice in video: https://www.artprice.com/video

Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images(R) gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.

Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications. For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label)Artprice’s Global Art Market Annual Report for 2017 published last March 2018: https://www.artprice.com/artprice-reports/the-art-market-in-2017

Artprice’s Contemporary Art Market Annual Report for 2017 – free access at: https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2017
Artprice’s press releases:

http://serveur.serveur.com/Press_Release/pressreleaseen.htm

https://twitter.com/artpricedotcom

Artmarket News:

https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom

https://www.facebook.com/artpricedotcom & https://plus.google.com/+Artpricedotcom/post

http://artmarketinsight.wordpress.com/

Discover the Alchemy and the universe of Artprice http://web.artprice.com/video, which headquarters are the famous Museum of Contemporary Art, the Abode of Chaos:

http://goo.gl/zJssd

https://vimeo.com/124643720

The Contemporary Art Museum The Abode of Chaos on Facebook: https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999

Contact: ir@artprice.com

Artprice: le Rapport mondial 1S 2018 du Marché de l’Art, tous les indicateurs sont positifs.

2018/08/06 Commentaires fermés

Premier semestre 2018 : reprise générale du Marché de l’Art +18%

1 Les ventes aux enchères mondiales de Fine Art*, en hausse de +18 %, totalisent 8,45 Mrd$

2 Le nombre de transactions reste stable : 262 000 lots vendus, soit une hausse de +2,5 %

3 Les USA réalisent une progression colossale de +48 %, avec 3,3 Mrd$

4 La Chine**, 2 Mrd$, réduit ses invendus avant un 2nd semestre décisif

5 Le Royaume-Uni, +18 %, se positionne juste derrière la Chine : 1,9 Mrd$

6 L’UE prend part à la croissance : France +8 %, Allemagne +17 %, Italie +22 %

7 L’Art Moderne, pilier du marché haut de gamme, pèse 46 % du chiffre d’affaires global

8 Modigliani et Picasso enregistrent tous deux un résultat supérieur à 100m$

9 Zao Wou-Ki est l’artiste chinois le plus performant au S1 2018 avec 155 m$

10 L’indice des prix de l’Art Contemporain gagne +27 % et rivalise avec le S&P 500

*Ventes publiques de Fine Art (peinture, sculpture, dessin, photographie, estampe, installation)

**En collaboration avec l’Art Market Monitor of Artron (AMMA).

Bilan général

A l’échelle mondiale, le Marché de l’Art réalise une progression de+18% sur le premier semestre 2018. Il poursuit ainsi la croissance retrouvée au premier semestre 2017 (+9 %) et confirmée au second semestre 2017 (+32%).
Résultats globaux

A l’échelle planétaire, plus de 262 000 lots Fine Art ont été cédés aux enchères au cours des 6 premiers mois de l’année 2018, pour un produit total de 8,45 Mrd$ (frais inclus). Plus de 3 532 ventes ont fait l’objet systématique d’une analyse détaillée et synthétique par Artprice, Leader mondial de l’information sur le Marché de l’Art depuis 1987. Ce rapport semestriel couvre les Ventes Publiques Fine Art (peinture, sculpture, dessin, photographie, estampe, installation).

Thierry Ehrmann, fondateur et PDG d’Artprice : « Le Marché de l’Art depuis l’an 2000, soit 18 ans d’observation, a fait preuve d’une maturité à toute épreuve, affrontant la crise du NASDAQ, les événements du 11 septembre 2001, la 2ème guerre d’Irak et bien sûr la crise financière et économique sans précédent de 2007, une tension géopolitique mondiale avec de plus, l’apparition des taux négatifs laminant les épargnants. Durant ces 18 années, le Marché de l’Art a su effectuer des corrections salvatrices évitant son effondrement face à la crise financière, s’érigeant en valeur refuge, sans constituer pour autant une bulle spéculative ».

Ses taux de rendement très attractifs depuis plusieurs années surperforment d’autres placements et font du Marché de l’Art un marché désormais liquide, efficient et à part entière, quel que soit le continent.

Top 10 des pays par produit de ventes aux enchères S1 2018

Pays — Chiffre d’affaires — (Part de marché)

1 Etats-Unis — 3 341 746 766 $ — (39,6%)

2 Chine — 1 997 226 110 $ — (23,6%)

3 Royaume-Uni — 1 873 284 804 $ — (22,2%)

4 France — 372 461 596 $ — (4,4%)

5 Allemagne — 122 765 010 $ — (1,5%)

6 Italie — 118 907 954 $ — (1,4%)

7 Suisse — 76 847 823 $ — (1,3%)

8 Japon — 66 901 157 $ — (0,9%)

9 Autriche — 53 562 620 $ — (0,8%)

10 Inde— 38 351 733 $ — (0,6%)

Autres :—383 793 555 $ —(5,0%)

Sur le Top 500 des artistes par produit de ventes, la Chine a acquis au fil des ans une place considérable dans le marché de l’art, et compte désormais 128 artistes parmi les 500 les plus cotés au monde, loin devant les Etats-Unis (82) et la Grande-Bretagne (27).

Bilan S1 2018 Mondial du Marché de l’Art, par Artprice en ligne sur :

https://fr.artprice.com/artprice-reports/bilan-du-marche-de-lart-s1-2018-par-artprice-com

Les données sur la Chine sont réalisées par Artprice en collaboration étroite, depuis 7 ans, avec son partenaire associé institutionnel chinois le Groupe Artron et AMMA (Art Market Monitor by Artron) présidé par Wan Jie

Entre logique d’investissement, spéculation, collections passionnées, demande insatiable de grandes signatures pour alimenter les nouveaux Musées du monde, le CA du Marché de l’Art mondial affiche une bonne santé. Il connaît une croissance, malgré les disparités de l’économie mondiale.

Les leviers d’une telle croissance passent par la facilité d’accès aux informations sur le Marché de l’Art, notamment grâce à Artprice – pionnier et Leader mondial – la dématérialisation des ventes – le tout sur Internet avec l’ensemble des acteurs connectés – la financiarisation du marché, l’accroissement des consommateurs d’art (de 500 000 à l’après-guerre à 90 millions en 2018), leur rajeunissement, l’extension du marché à toute la Grande Asie, zone Pacifique, Inde, Afrique du Sud, Moyen-Orient et Amérique du Sud.

Ils passent aussi par l’industrie muséale (700 nouveaux Musées/an) devenue une réalité économique mondiale au XXIème siècle. Il s’est construit plus de Musées depuis 2000 que durant tout le XIXème et XXème siècles.

Cette industrie dévoreuse de pièces muséales est l’un des facteurs primordiaux de la croissance spectaculaire du Marché de l’Art. Le Marché de l’Art est désormais mature et liquide, offrant des rendements de 10% à 15% par an pour les œuvres supérieures à 100 000 $.

Alors que les Banques Centrales appliquent des taux négatifs ou nuls, le Marché de l’Art affiche une santé insolente avec par exemple une progression de 2 108% des recettes annuelles enregistrées sur le seul segment de l’Art Contemporain en 18 ans et une progression linéaire de la valeur moyenne d’une œuvre d’art du Marché de l’Art global (ancien, moderne et contemporain) de +25%. Pour l’Art contemporain cette progression atteint 88 % en 18 ans.

Ces rendements ne sont pas réservés aux artistes stars. En effet, on obtient des rendements annuels déjà significatifs de l’ordre de 9% dès que le prix d’une oeuvre franchit le prix de 20 000$.

Le Marché de l’Art mondial s’analyse aussi avec, comme exemple, l’Artprice100® (indice global et planétaire sur l’Art ancien, moderne et contemporain) qui affiche une progression de +360% depuis 2000. À propos de l’Artprice100® : https://www.actusnews.com/fr/ARTPRICE/cp/2018/01/31/artprice-lance-pour-la-finance-et-les-investisseurs-son-indice-artprice100-reg-constitue-des-nbsp-blue-chips-nbsp-du-marche-de

Au regard de ces données macro et micro-économiques, le Marché de l’Art s’affirme depuis 18 ans comme une valeur refuge face aux crises économiques et financières avec des rendements conséquents et récurrents.

L’omniprésence d’Internet par plus de 5 milliards de personnes connectées (Source Microsoft) devient désormais l’Espace unique et définitif des Maisons de Ventes de tout pays, au coeur de leur stratégie de conquête sur tous les continents. 99% des 6 300 Maisons de Ventes dans le monde sont aujourd’hui présentes sur Internet (elles n’étaient que 3% en 2005).

Le pouvoir de l’Art constitue un Soft Power essentiel pour les États-Unis, la Chine et à une autre échelle le Qatar et les Émirats arabes unis.

Le Marché de l’Art est donc bien un marché efficient, historique, et mondial.
TOP 20 des artistes – S1 2018 © Artprice com

Artiste – Produit de ventes (USD) – Nombres d’œuvres vendues – Meilleur résultat (USD)

1 Pablo PICASSO (1881-1973) — 602 865 747 $ — 1 841 — 115 000 000 $
2 Claude MONET (1840-1926) — 267 055 149 $ — 22 — 84 687 500 $
3 Andy WARHOL (1928-1987) — 175 393 487 $ — 778 — 37 000 000 $
4 Jean-Michel BASQUIAT (1960-1988) — 162 756 656 $ — 64 — 45 315 000 $
5 Amedeo MODIGLIANI (1884-1920) — 160 869 523 $ — 22 — 157 159 000 $
6 ZAO Wou-Ki (1921-2013) — 154 558 288 $ — 268 — 23 305 301 $
7 Henri MATISSE (1869-1954) — 144 675 227 $ — 227 — 80 750 000 $
8 ZHANG Daqian (1899-1983) — 107 478 086 $ — 283 — 13 129 521 $
9 Kasimir MALEVICH (1878-1935) — 96 248 783 $ — 6 — 85 812 500 $
10 Joan MIRO (1893-1983) — 87 818 817 $ — 696 — 21 687 500 $
11 Gerhard RICHTER (1932-) — 80 720 365 $ — 177 — 16 563 000 $
12 David HOCKNEY (1937-) — 77 358 842 $ — 214 — 28 453 000 $
13 Alberto GIACOMETTI (1901-1966) — 73 528 071 $ — 74 — 16 647 567 $
14 Francis BACON (1909-1992) — 73 156 871 $ — 58 — 49 812 500 $
15 Constantin BRANCUSI (1876-1957) — 71 921 220 $ — 3 — 71 000 000 $
16 QI Baishi (1864-1957) — 64 402 510 $ — 169 — 8 753 015 $
17 Paul GAUGUIN (1848-1903) — 63 511 735 $ — 34 — 35 187 500 $
18 Fernand LÉGER (1881-1955) — 62 655 125 $ — 122 — 19 437 500 $
19 Richard DIEBENKORN (1922-1993) — 62 311 216 $ — 54 — 23 937 500 $
20 Yayoi KUSAMA (1929-) — 61 861 631 $ — 344 — 4 534 985 $

Top 10 des ventes aux enchères – S1 2018 © Artprice com

Artiste – Oeuvre – Prix (USD) – Date – Maison de ventes

1 Amedeo MODIGLIANI (1884-1920) — Nu couché (sur le côté gauche) (1917) — 157.159.000 $ — 14/05/2018 — Sotheby’s New York
2 Pablo PICASSO (1881-1973) — Fillette à la corbeille fleurie (1905) — 115.000.000 $ — 08/05/2018 — Christie’s New York
3 Kasimir MALEVICH (1878-1935) — Suprematist Composition (1916) — 85.812.500 $ — 15/05/2018 — Christie’s New York
4 Claude MONET (1840-1926) — Nymphéas en fleur (c.1914-1917) — 84.687.500 $ — 08/05/2018 — Christie’s New York
5 Henri MATISSE (1869-1954) — Odalisque couchée aux magnolias (1923) — 80.750.000 $ — 08/05/2018 — Christie’s New York
6 Constantin BRANCUSI (1876-1957) — La jeune fille sophistiquée (1928) — 71.000.000 $ — 15/05/2018 — Christie’s New York
7 Pablo PICASSO (1881-1973) — Femme au béret et à la robe quadrillée (1937) — 68.702.214 $ — 28/02/2018 — Sotheby’s Londres
8 Pablo PICASSO (1881-1973) — La Dormeuse (1932) — 57.829.046 $ — 08/03/2018 — Phillips Londres
9 Francis BACON (1909-1992) — Study for Portrait (1977) — 49.812.500 $ — 17/05/2018 — Christie’s New York
10 Jean-Michel BASQUIAT (1960-1988) — Flexible (1984) — 45.315.000 $ — 17/05/2018 — Phillips New York

www.artprice.com
Copyright thierry Ehrmann 1987/2018

À propos d’Artprice :

Artprice est cotée sur Eurolist by Euronext Paris, SRD long only et Euroclear : 7478 – Bloomberg : PRC – Reuters : ARTF.
Découvrir Artprice en vidéo : https://fr.artprice.com/video
Artprice est le Leader mondial des banques de données sur la cotation et les indices de l’Art avec plus de 30 millions d’indices et résultats de ventes couvrant plus de 700 000 Artistes. Artprice Images® permet un accès illimité au plus grand fonds du Marché de l’Art au monde, bibliothèque constituée de 126 millions d’images ou gravures d’oeuvres d’Art de 1700 à nos jours commentées par ses historiens.
Artprice enrichit en permanence ses banques de données en provenance de 6300 Maisons de Ventes et publie en continu les tendances du Marché de l’Art pour les principales agences et 7200 titres de presse dans le monde. Artprice met à la disposition de ses 4,5 millions de membres (members log in), les annonces déposées par ses Membres, qui constituent désormais la première Place de Marché Normalisée® mondiale pour acheter et vendre des oeuvres d’Art à prix fixe ou aux enchères (enchères réglementées par les alinéas 2 et 3 de l’article L 321.3 du code du commerce). Artprice labellisée par le BPI développe son projet de Blockchain sur le Marché de l’Art.
Le Rapport Annuel Artprice du Marché de l’Art mondial 2017 publié en mars 2018 :
https://fr.artprice.com/artprice-reports/le-marche-de-lart-en-2017
Le rapport du Marché de l’Art Contemporain 2017 d’Artprice :
https://fr.artprice.com/artprice-reports/le-marche-de-lart-contemporain-2017
Sommaire des communiqués d’Artprice :
http://serveur.serveur.com/press_release/pressreleasefr.htm
https://twitter.com/artpricedotcom
Suivre en temps réel toute l’actualité du Marché de l’Art avec Artprice sur Facebook, Google+ Twitter :
https://www.facebook.com/artpricedotcom 2,6 millions d’abonnés
https://twitter.com/artmarketdotcom

https://artmarketinsight.wordpress.com/

Découvrir l’alchimie et l’univers d’Artprice http://web.artprice.com/video dont le siège social est le célèbre Musée d’art contemporain Abode of Chaos / Demeure du Chaos 2,9 millions d’abonnés : http://goo.gl/zJssd https://vimeo.com/124643720
Musée d’Art Contemporain siège social d’Artprice :
https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999
Contact ir@artprice.com

Suite comm Actusnews du 27juin2018 : le contrat entre Artprice et Artron (son associé le groupe étatique chinois) va générer un changement d’échelle de CA avec 1,34 million de riches collectionneurs d’Art en Chine

2018/06/29 Commentaires fermés

#ARTPRICE $PRC, par le contrat avec son associé Artron / AMMA qui lui ouvre ses clients privilégiés en Chine, voit son avenir (CA) et le nombre de ses clients changer d’échelle.
Rappel: 1.34 million de millionnaires chinois collectionneurs d’Art. Cf. com Actusnews 27.6.2018

Précisions à venir, sur le contrat #ARTPRICE $PRC / Artron avec un nouveau communiqué la semaine prochaine qui indiquera le prévisionnel de CA et les conséquences sur l’avenir d’Artprice avec son associé le groupe étatique chinois Artron / AMMA , suite au communiqué du 27.6.2018

Artprice and Artmarket expand beyond expectations, post +590% growth on social media over H2 2017 and H1 2018, and 2.3 million followers.

2018/06/25 Commentaires fermés

Artprice and Artmarket expand beyond expectations, post +590% growth on social media over H2 2017 and H1 2018, and 2.3 million followers.

At its 30 June 2017 general meeting, Artprice had made a commitment to take the leading place for Art Market information on social media, where it had garnered 345K followers. To achieve this highly ambitious goal, Artprice, and its division Artmarket, had to acquire over 1 million followers for their publications over the H2 2017 and H1 2018 period.

And they hit the mark – in exactly 12 months, as of 25 June 2018, they have grown to 2.3 million followers, rising beyond expectations and posting a 590% year on year growth (June 2017 / June 2018). Although the Chinese Intranet blocks Western social media, Artprice has a strong presence in China through its partner, the Chinese State group ARTRON / AMMA.

Indeed some important international listed companies believed they could do without the complex social media but they now suffer from their fatal delay which generated huge economic damages and cast doubt on their positions. Even with a remarkable financial budget, the accumulated delay cannot be compensated due to social media’s elaborate architecture. Some S&P500 companies are perfect illustrations of that case.

According to Thierry Ehrmann, the founder and Ceo of Artprice, “From now on, the mark made on social media is one of the essential and vital factors for companies wishing to preserve their capital and future, going hand in hand with their reputation and worldwide visibility, as is the case of Artprice, the World Leader in Art Market information and its Standardised Marketplace Artmarket.com.”

This is why Artprice has made this line of communication its first choice, foreseeing for a long time the social media’s influence in its marketing, data banks, IT teams and sales forces, shaping more each day its experience in many social media platform to generate millions of qualified new followers for the various paid subscriptions to its databanks.

What’s more, Artprice was on a budget which made it possible to release more than €1 million in results for the 2017 financial year. This budgetary discipline is still topical in 2018. Its unrivaled high quality information, its reputation and its human and computer science savviness make Artprice the winner of this global challenge, on a very low budget.

After succeeding in getting the leading position on Google rankings, it was necessary for Artprice and Artmarket.com to replicate the world leading position for Art Market information on social media.

It’s a done deal! The proof is in an incredible 590% increase in global Internet market share, notably on the world’s N°. 1 social media platform Facebook. Artprice’s Facebook page has attracted more than 2.3 million followers, placing it among the most followed pages in the world. It should be noted that organizations that can count their followers in the millions form a very tight, elite group on the global scale.

On Twitter, Artprice and Artmarket tweets are