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Artprice by Art Market: 10 works that should ignite bidding at New York’s prestige sales, 11 – 20 November 2019

2019/11/07 tehrmann Commentaires fermés

Artprice by Art Market: 10 works that should ignite bidding at New York’s prestige sales, 11 – 20 November 2019

Works sold over $10 million at auction in New York (2000 – October 2019)

[https://imgpublic.artprice.com/img/wp/sites/11/2019/11/new-york-usd-10-million.png]

For thierry Ehrmann, founder/CEO of Artmarket.com, “This year’s best auction performances have relied less on the Art Market’s top four ultra-prestigious signatures (Monet, Picasso, Warhol and Basquiat) and more on artists who are gaining momentum. The major auction houses are today working on bringing new artists into the very closed circle of ‘$10 million-plus’ artists”.

Rather than waiting for the arrival of a single exceptional work – like the Salvator Mundi or the Women of Algiers – auction houses are concentrating on generating more results above the $10 million threshold. And, as we have seen, when several major collectors are chasing the same piece, prices can fly. This was the case for Past Times (1997) by African-American artist Kerry James Marshall in May 2018, and for La Terrasse (1912) by Pierre Bonnard earlier this year.

Artprice has selected the ten works most likely to elicit strong bidding in New York next week:

Ed Rusha – Hurting the Word Radio #2 (1964): $30 – 40 million

This painting could well exceed the $30.4 million hammered in November 2014 for Smash (1963) and crown an already exceptional year for Ed Ruscha on the secondary market. The first version of Hurting the Word Radio is in Houston’s prestigious Menil Collection.

Gustave Caillebotte – Richard Gallo et son chien Dick (1884): $18 – 25 million

Occasionally, 19th century art – frequently disregarded or overlooked – produces excellent surprises. Somewhat curiously, Gustave Caillebotte is among the artists currently in vogue. His painting at Sotheby’s next week could do even better than the $22 million hammered in February 2019 for his Chemin montant (1881), which was worth $6.7 million in 2003.

Joan Mitchell – Plowed field (1971): $12 – 18 million

This painting – over 5 metres long – was auctioned in November 2003 at Christie’s in New York where it fetched $657,100. Sixteen years later, it could be resold for almost 20 times that amount.

Brice Marden – Number Two (1983/84): $10 – 15 million

After the new auction record for Carl André’s Copper-Steel Alloy Square at $3 million on 4 October 2019 in London, Minimalism is back with a major Brice Marden canvas. Since it was purchased at the Pace Gallery 34 years ago, the work has never been offered for sale. Its sister work, Number One (1983/84), is part of the Whitney Museum’s collection.

Francis Bacon – Pope (c. 1958): $6 – 8 million

This painting – from perhaps the Irish painter’s most iconic series – is being sold by the Brooklyn Museum, which has kept it for nearly forty years. Its sale will take place during the magnificent retrospective “Bacon en toutes lettres” at the Centre Pompidou in Paris (open until 20 January 2020).

Jean-Michel Basquiat – Brown Eggs (1981): $2.5 – 3.5 million

The major absentee on the high-end market so far this year, Basquiat is still only in 11th place in Artprice’s global ranking of artists by auction turnover… This work on paper, which already fetched $254,000 in 2004, then $1.86 million in 2015, will indicate whether the ‘Basquiat frenzy’ has calmed or is continuing to spread. But it won’t be the only indication since his painting The Ring (1981), which sold for $7.6 million in 2012, is also being offered… with an estimate of $12 – 15 million.

Alma Woodsey Thomas – A Fantastic Sunset (1970): $2.2 – 2.8 million

This Afro-American artist, who died in 1978, could finally earn the recognition she deserves on the Art Market. Her research on colour, similar to that of Frank Stella and Morris Louis, has never had the same auction success enjoyed by those two stars of Abstract Expressionism… who have both renewed their personal auction records very recently.

Akseli Gallen-Kallela – Palokärki (1892/94): $1.8 – 2.5 million

Her canvas View over Lake at Sunset (c.1905) exceeded all expectations on 9 July 2019 at Sotheby’s in London. Estimated between $125,000 and $190,000, it was finally purchased for $886,000. This record explains Sotheby’s very bold estimate for Palokärki.

Charles Wilbert White – Banner for Willie J (1976): $1 – 1.5 million

Christie’s has finally got its hands on an exceptional painting by this African-American artist who died in 1979. White’s work has recently enjoyed strong auction demand including for two charcoal drawings that fetched over $400,000 each. His painting Banner for Willie J has all the qualities to set a much more substantial record.

Julie Curtiss – Pas de Trois (2018): $100,000 – 150,000

Curtiss is the new darling of the Anton Kern Gallery, which presented her work for the first time in April 2019 in New York. Since that solo show, five of her paintings have already been auctioned for a total of $453,000. And three others have been announced for sale in November.

About Artmarket:

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

Discover Artmarket and its Artprice department on video: https://en.artprice.com/video

Artmarket and its Artprice department was founded in 1997 by its CEO, thierry Ehrmann. Artmarket and its Artprice department is controlled by Groupe Serveur, created in 1987.

See certified biography in Who’s who ©:

https://imgpublic.artprice.com/img/wp/sites/11/2019/10/biographie_oct2019_WhosWho_thierryEhrmann.pdf

Artmarket is a global player in the Art Market with, among other structures, its Artprice department, world leader in the accumulation, management and exploitation of historical and current art market information in databanks containing over 30 million indices and auction results, covering more than 700,000 artists.

Artprice Images® allows unlimited access to the largest Art Market image bank in the world: no less than 180 million digital images of photographs or engraved reproductions of artworks from 1700 to the present day, commented by our art historians.

Artmarket with its Artprice department accumulates data on a permanent basis from 6300 Auction Houses and produces key Art Market information for the main press and media agencies (7,200 publications). Its 4.5 million ‘members log in’ users have access to ads posted by other members, a network that today represents the leading Global Standardized Marketplace® to buy and sell artworks at a fixed or bid price (auctions regulated by paragraphs 2 and 3 of Article L 321.3 of France’s Commercial Code).

Artmarket with its Artprice department, has been awarded the State label “Innovative Company” by the Public Investment Bank (BPI) (for the second time in November 2018 for a new period of 3 years) which is supporting the company in its project to consolidate its position as a global player in the market art.

Artprice by Artmarket’s 2018 Global Art Market Report published in March 2019: https://fr.artprice.com/artprice-reports/le-marche-de-lart-en-2018

Index of press releases posted by Artmarket with its Artprice department:

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

Follow all the Art Market news in real time with Artmarket and its Artprice department on Facebook and Twitter:

https: // www .facebook.com / artpricedotcom (4.5 million followers)

https://twitter.com/artmarketdotcom

https://twitter.com/artpricedotcom

Discover the alchemy and universe of Artmarket and its artprice department http: //web.artprice.com/video headquartered at the famous Organe Contemporary Art Museum “The Abode of Chaos” (dixit The New York Times): https://issuu.com/demeureduchaos/docs/demeureduchaos-abodeofchaos-opus-ix-1999-2013

L’Obs – The Museum of the Future: https://youtu.be/29LXBPJrs-o

https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999
(4 million followers)

https://vimeo.com/124643720

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Contact Artmarket.com and its Artprice department
Contact: ir@artmarket.com

Catégories :2019, Art Market, Artprice, auction, Global Lite, thierry ehrmann Étiquettes : art market, artmarket, artprice, Brooklyn Museum, christie's, Menil Collection, New York, sotheby's, Thierry Ehrmann, Whitney Museum

Artprice by Art Market : Les 10 œuvres qui devraient enflammer les prestigieuses ventes de New York, du 11 au 20 novembre 2019

2019/11/07 tehrmann Commentaires fermés

Artprice by Art Market : Les 10 œuvres qui devraient enflammer les prestigieuses ventes de New York, du 11 au 20 novembre 2019

Nombre d’œuvres vendues plus de 10 m$ aux enchères à New York (2000 – octobre 2019)

[https://imgpublic.artprice.com/img/wp/sites/11/2019/11/new-york-usd-10-million.png]

thierry Ehrmann, président et fondateur d’Artmarket.com : « Les enjeux portent moins cette année sur les performances des quatre signatures ultra prestigieuses du Marché de l’Art (Monet, Picasso, Warhol et Basquiat) que sur celles qui montent en puissance. Les maisons de ventes travaillent en effet aujourd’hui à faire entrer de nouveaux artistes dans le cercle très fermé des œuvres supérieures à 10 m$ ».

Plutôt que d’attendre l’arrivée d’une seule œuvre exceptionnelle – comme le Salvator Mundi ou les Femmes d’Alger – les maisons de ventes s’efforcent de multiplier les coups de marteau supérieurs à 10 m$. Et quand plusieurs grands collectionneurs veulent exactement la même pièce, alors les prix peuvent s’envoler. Ce fut le cas de Past Times (1997) de l’artiste afro-américain Kerry James Marshall en mai 2018, ainsi que de La Terrasse (1912) de Pierre Bonnard en ce début d’année.

Artprice a sélectionné les dix œuvres qui pourraient électriser les salles de ventes new-yorkaises la semaine prochaine :

Ed Rusha – Hurting the Word Radio #2 (1964) : 30 m$ – 40 m$

Cette toile pourrait bien dépasser les 30,4 m$ déboursés en novembre 2014 pour Smash (1963) et viendrait ainsi couronner une année exceptionnelle pour Ed Ruscha aux enchères. La première version de Hurting the Word Radio fait partie de la prestigieuse Menil Collection à Houston.

Gustave Caillebotte – Richard Gallo et son chien Dick (1884) : 18 m$ – 25 m$

L’Art du XIXème siècle, trop souvent tombé en désuétude, garde néanmoins quelques très belles surprises, comme Gustave Caillebotte qui fait curieusement partie des artistes en vogue… La toile mise en vente la semaine prochaine chez Sotheby’s pourrait bien faire mieux encore que les 22 m$ enregistrés en février 2019 pour Chemin montant (1881), dont la valeur était de 6,7 m$ en 2003.

Joan Mitchell – Plowed field (1971) : 12 m$ – 18 m$

Cette peinture, de plus de 5 m de long, est déjà passée aux enchères en novembre 2003 chez Christie’s à New York. Achetée 657 100 $, elle pourrait bien être revendue presque 20 fois ce montant 16 ans plus tard.

Brice Marden – Number Two (1983/84) : 10 m$ – 15 m$

Après le record enregistré pour Carl André à 3 m$ ce 4 octobre 2019 à Londres, le minimalisme revient en force avec une toile majeure de Brice Marden. Depuis qu’elle a été achetée à la Pace Gallery, il y a 34 ans, l’oeuvre n’a jamais été remise sur le Marché. Number One (1983/84) fait quant à elle partie de la collection du Whitney Museum.

Francis Bacon – Pope (c. 1958) : 6 m$ – 8 m$

Ce tableau, de la série peut-être la plus iconique du peintre irlandais, est mis en vente par le Brooklyn Museum, qui l’a gardé pendant près de quarante ans. Cette vente prendra place pendant la magnifique rétrospective « Bacon en toutes lettres » présentée au Centre Pompidou jusqu’au 20 janvier 2020 à Paris.

Jean-Michel Basquiat – Brown Eggs (1981) : 2,5 m$ – 3,5 m$

Il est le grand absent sur le marché haut de gamme cette année, si bien qu’il ne pointe encore qu’à la 11ème place du classement Artprice… Cette œuvre sur papier, déjà vendue en 2004 pour 254 000 $ puis en 2015 pour 1,86 m$, doit montrer si la frénésie Basquiat s’adoucit ou continue de se propager. Tout comme la toile The Ring (1981), vendue 7,6 m$ en 2012, mais qui est estimée aujourd’hui entre 12 m$ et 15 m$.

Alma Woodsey Thomas – A Fantastic Sunset (1970) : 2,2 m$ – 2,8 m$

Cette artiste afro-américaine, décédée en 1978, pourrait enfin gagner la reconnaissance qu’elle mérite sur le Marché de l’Art. Ses recherches sur la couleur, proches de celles de Frank Stella ou de Morris Louis, n’ont jamais eu le même succès en salles de ventes que ces deux stars de l’expressionnisme abstrait, qui ont chacun battu leur record personnel aux enchères très récemment.

Akseli Gallen-Kallela – Palokärki (1892/94) : 1,8 m$ – 2,5 m$

Sa toile View over a Lake at Sunset (c. 1905) a dépassé toute les attentes le 9 juillet 2019 chez Sotheby’s à Londres. Estimée entre 125 000 $ et 190 000 $, View over a Lake at Sunset a finalement été achetée 886 000 $. Ce record explique les estimations très audacieuses de Sotheby’s pour Palokärki.

Charles Wilbert White – Banner for Willie J (1976) : 1 m$ – 1,5 m$

Christie’s a enfin mis la main sur une toile exceptionnelle de cet artiste afro-américain décédé en 1979. Il connaît un nouveau succès en salles de ventes, notamment grâce à deux dessins réalisés au charbon et vendus plus de 400 000 $ chacun. La peinture Banner for Willie J présente toutes les qualités pour établir un record bien plus puissant.

Julie Curtiss – Pas de trois (2018) : 100 000$ – 150 000 $

Elle est la nouvelle coqueluche de la galerie Anton Kern, qui a présenté son

travail pour la première fois en avril 2019 à New York. Depuis ce solo show, cinq de ses toiles ont déjà été vendues aux enchères pour un total de 453 000 $. Et trois autres ont été annoncées en novembre.

A propos d’Artmarket :

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

Découvrir Artmarket avec son département Artprice en vidéo : https://fr.artprice.com/video

Artmarket avec son département Artprice fut fondée en 1997 par thierry Ehrmann qui est son PDG. Artmarket et son département Artprice est contrôlée par le Groupe Serveur créé en 1987. Voir biographie certifiée de Who’s who © :

https://imgpublic.artprice.com/img/wp/sites/11/2019/10/biographie_oct2019_WhosWho_thierryEhrmann.pdf

Artmarket est l’acteur global du Marché de l’Art avec entre autres son département Artprice qui 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 180 millions d’images ou gravures d’œuvres d’Art de 1700 à nos jours commentées par ses historiens.

Artmarket avec son département 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. Artmarket.com 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 œuvres 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).

Artmarket avec son département Artprice, possède le label étatique « Entreprise Innovante » par la Banque Publique d’Investissement (BPI) (pour la deuxième fois en novembre 2018 pour une nouvelle période de 3ans) et développe son projet d’acteur global sur le Marché de l’Art.

Le Rapport du Marché de l’Art Contemporain 2019 :

https://fr.artprice.com/artprice-reports/le-marche-de-lart-contemporain-2019

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

Sommaire des communiqués d’Artmarket avec son département Artprice :

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

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

https://www.facebook.com/artpricedotcom (4,5 millions d’abonnés)

https://twitter.com/artmarketdotcom

https://twitter.com/artpricedotcom

Découvrir l’alchimie et l’univers d’Artmarket et son département 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://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999

(4,0 millions d’abonnés)

L’Obs – Le Musée du Futur : https://youtu.be/29LXBPJrs-o

https://vimeo.com/124643720

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

Contact d’Artmarket.com avec son département Artprice

Contact ir@artmarket.com

Catégories :2019, Art Market, Artprice, Global Lite, thierry ehrmann Étiquettes : art market, artmarket, artprice, Brooklyn Museum, christie's, Menil Collection, New York, sotheby's, Thierry Ehrmann, Whitney Museum

ArtMarket.com – 24 October 2023: How the Art Market saves the world from economic and financial apocalypse…

2019/10/31 tehrmann Commentaires fermés

ArtMarket.com – 24 October 2023: How the Art Market saves the world from economic and financial apocalypse…

Artprice by Art Market invited a number of social science fiction authors to write near-term finance-fiction, as a prospective experiment including the Art Market.

It is Tuesday, 24 October 2023… here is the economic column by the editorial team of “Protect your Money”:

The French government has just issued 45 billion euros of long-term debt in a single day at negative rates. This is the second time France has issued tens of billions worth of 30-yr bonds at negative rates. The issue rate on its long-term debt has risen from -1.10% to -1.15% today.

Like every EU country, France is now borrowing at negative rates on short, medium and long–term debt. In the United States, President Trump’s insistent demands in 2019 that the Fed adopt negative rates were heard after his re-election in 2020. Meanwhile… Larry Gagosian – America’s wealthiest man – has been appointed as Donald Trump’s personal advisor. His acquisition, for $4.8 billion, of Leonardo da Vinci’s Salvator Mundi, now hanging in the Oval Office, undoubtedly played a role in his nomination.

Salvator Mundi ©2019 thierry Ehrmann - courtesy of Organ Museum / Abode of Chaos

[https://imgpublic.artprice.com/img/wp/sites/11/2019/10/salvator-mundi-999-thierry-ehrmann.jpg]

In stark defiance of rationality, investors looking for safe investments are ready to lend more and more money at a loss… a paradox that masks the fundamental reality that many financiers are actually gambling on an abysmal pursuit of negative rates throughout the world.

Numerous economists and commentators have alerted policy–makers to this practice, which is contrary to the fundamental rules of money-lending that have governed the global economy since time began. They point to the growing danger that the longer negative rates become the norm, the harder it will be to return to the healthier and sounder foundation of positive interest rates.

In his editorial in the New York Times, Chinese economist Wan Huan Xi – this year’s Nobel Prize winner for Economics – says This process is irreversible … It basically signals the death of the banking system as we know it, adding… The only way out is the concentration of the banking system… a planetary ‘nationalization’ by global supra-central regulatory authorities.

Faced with the destructive spiral that savings and capital have entered, a number of bold and enlightened investors have been exploring successful alternative investment paths for several years:

– Cryptocurrencies,

– Gold,

– Art.

Cryptocurrencies had the wind in their sails in the late 2020s, but demand tailed off because the crash of a “helicopter money” causes massive dilution that destroys its value. Eurobit, for example, lost 44% of its value last week, triggering a major panic amongst savers, investors and central banks alike. A joint statement from the ECB and the FED has announced a cryptocurrency rescue plan with negative rates of up to -3.6% and an immediate restart of QE (Quantitative Easing). The CEO of the startup Bitcoin Europa admitted that the risk is increasing every day. If the helicopter money strategy continues, we fear a collapse of prices… since cryptocurrencies essentially obey the same economic rules as physical currencies… they devalue with each new issue.

Moreover, we urgently need to reiterate our warnings about the permanent associated IT risk, the likes of which we saw in October 2021 when a complete paralysis of trading and trading systems for five days led to the first full-scale crash on cryptocurrency markets.

Gold has always been a safe haven and its value peaked not long ago. However, since the Chinese quantum calculator World Master defined the basis of an alchemical equation that is reasonably foreseeable in the near-term, gold prices have contracted substantially on profit–taking and are down 35% versus their peaks.

According to the Icelandic chemical engineer, Ragnar Eriksson, who participated in an international team to develop the Chinese World Master programme, conversion to gold is no longer a dream. We know how to produce gold using a reasonable amount of energy and producing a metal that fetches USD 450 an ounce.

Our advice on gold is now ‘neutral’ given that we can now envisage its industrial production under controlled costs.

Art has maintained its values for 25 years. In fact, it’s the big winner from globalization and dematerialization. As Artmarket.com (formerly Artprice) – a global player in the Art Market – points out, we have stable returns on Old Master Art and growing returns on Modern and Contemporary Art.

The “Artprice 100” art investment fund managed by Artmarket.com – whose assets are steadily growing with new subscriptions from investors and savers – generates an annual yield of 27% on Contemporary Art. Indeed, people all over the world, seduced by its novelty and originality, are turning towards art as a means of social distinction. Today Artmarket has 18 representatives of the largest banks in North America, Europe and Asia on its supervisory board.

Regularly cited by the IMF and the World Bank, the Artmarket conglomerate has become the standard reference to which savers and investors burned by repeated disasters turn for stability, growth and security in the Art Market. The Art market is now controlled by Artmarket via its presence on five continents.

thierry Ehrmann, founder/CEO of Artmarket.com, the world’s leading Art Market reference, says: We knew the Art Market would be a haven, but the reality has far exceeded our most ambitious forecasts. The rush towards art has been so strong we are now receiving offers from the GAFAs almost every day… because they understand that our knowledge goes back almost three centuries, with the largest collection of scrolls, manuscripts and catalogues tracing the history of artworks in an ultra-secure bunker in a secret location. (However, the Wall Street Journal / Wired says that reliable sources, in secret collaboration with the Icelandic government, have located the bunker in a militarized zone in the middle of the volcanic island…). Our ultra-secure servers based on Artificial Intelligence hold all of the meta-data without which any investment in Art would be similar to Russian Roulette.

thierry Ehrmann concludes… “Since 1999 we have understood that the Art Market is essentially the oldest in the world… Man exchanged artworks commercially before money was ever minted… In this time of global financial and economic chaos, we are holding the key to the world’s financial salvation.

Artprice by Art Market invited social science fiction authors to write near-term finance-fiction as a prospective experiment. Naturally, because of its fictional nature, this press release cannot be interpreted in any shape or form as an element of legal, financial or economic information.

About Artmarket:

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

Discover Artmarket and its Artprice department on video: https://en.artprice.com/video

Artmarket and its Artprice department was founded in 1997 by its CEO, thierry Ehrmann. Artmarket and its Artprice department is controlled by Groupe Serveur, created in 1987.

See certified biography in Who’s who ©:

https://imgpublic.artprice.com/img/wp/sites/11/2019/10/biographie_oct2019_WhosWho_thierryEhrmann.pdf

Artprice by Artmarket’s 2018 Global Art Market Report published in March 2019: https://fr.artprice.com/artprice-reports/le-marche-de-lart-en-2018

Index of press releases posted by Artmarket with its Artprice department:

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

Follow all the Art Market news in real time with Artmarket and its Artprice department on Facebook and Twitter:

https: // www .facebook.com / artpricedotcom (4.5 million followers)

https://twitter.com/artmarketdotcom

https://twitter.com/artpricedotcom

L’Obs – The Museum of the Future: https://youtu.be/29LXBPJrs-o

https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999
(4 million followers)

https://vimeo.com/124643720

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

Contact Artmarket.com and its Artprice department
Contact: ir@artmarket.com

ArtMarket.com – 24 octobre 2023 : comment le Marché de l’Art sauve le monde… face à l’Apocalypse économique et financière.

2019/10/31 tehrmann Commentaires fermés

ArtMarket.com – 24 octobre 2023 : comment le Marché de l’Art sauve le monde… face à l’Apocalypse économique et financière.

Artprice by Art Market a lancé l’initiative auprès d’auteurs d’anticipation d’écrire des finance-fictions dans un horizon très proche, tel un laboratoire de prospectives incluant le Marché de l’Art.

Nous sommes mardi 24 Octobre 2023, voici le billet économique de la célèbre rédaction de « Protect your Money ».

La France vient d’emprunter 45 milliards d’euros en une seule journée à long terme et à taux négatifs. Cela fait désormais deux fois que la France émet plusieurs dizaines de milliards d’euros à 30 ans à taux négatifs. Pour cette échéance, le taux est passé de -1,10% à -1,15% aujourd’hui.

A court, moyen et long terme, la France emprunte à taux négatifs, comme chaque pays de l’Union Européenne. Aux Etats-Unis, les demandes insistantes du Président Trump en 2019, qui réclamait à la FED des taux négatifs, ont été entendues après sa réélection en 2020. Enfin, Larry Gagosian, représentant la première fortune américaine, est le Conseiller personnel de Donald Trump. Il est vrai que l’acquisition pour 4,8 milliards de dollars du Salvator Mundi, qui trône dans le bureau ovale, a contribué à sa nomination.

[https://imgpublic.artprice.com/img/wp/sites/11/2019/10/salvator-mundi-999-thierry-ehrmann.jpg]

De manière très paradoxale, les investisseurs à la recherche de placements sûrs sont prêts à concéder de plus en plus d’argent, en prêtant à perte. Un comble … Mais la réalité est bien pire, une grande partie des financiers spécule sur une poursuite abyssale des taux négatifs dans le monde.

Plusieurs économistes et essayistes ont alerté les décideurs sur cette pratique contraire à la règle fondamentale du taux d’usure qui régit l’économie mondiale depuis la nuit des temps. Ils pointent du doigt le danger grandissant de l’impossibilité de revenir sur des bases plus saines et conformes que sont les taux d’intérêt positifs, au fur et à mesure que les taux négatifs deviennent la norme.

« Ce processus est irréversible » affirme même l’économiste chinois Wan Huan Xi, Prix Nobel d’économie cette année dans son éditorial de cette semaine sur le New York Times. « Cela signe l’arrêt de mort du système bancaire tel que nous l’avons connu » ajoute-t-il, avant de terminer : « La seule issue est la concentration du système bancaire et la nationalisation planétaire par des instances de régulation mondiales au-dessus des banques centrales. »

Face à cette spirale destructrice de l’épargne et du capital, certains investisseurs audacieux et éclairés explorent avec succès depuis plusieurs années maintenant d’autres pistes de placements.

– les Cryptomonnaies,

– l’Or,

– l’Art.

Si les cryptomonnaies ont eu le vent en poupe fin 2020, elles ne connaissent plus le même engouement car l’embrasement d’un « helicopter money » est une gigantesque dilution qui pèse sur les cours. L’Eurobit s’est par exemple effondré de 44% la semaine dernière, créant une terrible panique chez les épargnants comme les grands argentiers et les Banques centrales. Un communiqué commun de la BCE et de la FED annonce un plan de sauvetage des cryptomonnaies grâce à des taux négatifs allant jusqu’à -3,6% ainsi qu’une reprise immédiate du QE (Quantitative Easing). Le Président de la start-up Bitcoin Europa concède que le risque augmente de jour en jour. « Nous pouvons craindre un effondrement des cours, si la stratégie de l’helicopter money perdure. En effet, la cryptomonnaie obéit in fine aux même règles que les monnaies physiques dévaluées à chaque nouvelle émission de papier ».

Par ailleurs, nous ne pouvons que renouveler nos mises en garde en raison du risque permanent d’attaque informatique, comme ce fut le cas en Octobre 2021, avec une paralysie complète du système de cotation et d’échange pendant 5 jours entraînant à la reprise le premier véritable krach des cryptomonnaies.

L’or a atteint des sommets très récemment. Il a toujours été un placement refuge. Cependant, depuis l’apport du calculateur quantique chinois « Le Maître du Monde », qui dessine les contours d’une équation alchimique raisonnablement envisageable à court terme, le cours de l’or a subi une forte correction sur des prises de bénéfices appuyées et affiche un recul de 35% sur les sommets.

Selon le chimiste islandais Ragnar Eriksson, qui a participé au sein d’un collège international à l’élaboration du programme chinois « Le Maître du Monde » : « La mise en application réelle n’est plus une utopie. Nous savons produire du métal aurifère avec une énergie maîtrisée qui permet de sortir l’once d’or à 450 USD ».

Nous sommes donc neutres désormais sur l’or compte tenu de ces nouveaux paramètres laissant supposer une production industrielle d’or avec des coûts maîtrisés.

L’Art tient la cote depuis 25 ans. C’est le grand vainqueur de la mondialisation et de la dématérialisation. Comme le souligne Artmarket.com (ex Artprice), acteur global du Marché de l’Art : « Nous avons des rendements constants sur l’Art ancien et croissants sur l’Art Moderne et Contemporain ».

Le fonds de placement dans l’Art, « Artprice 100 », géré par Artmarket.com dont l’encours ne cesse d’augmenter du fait des souscriptions des investisseurs et épargnants, affiche un rendement annuel de 27% sur l’Art Contemporain. Il faut dire que le monde entier, friand de nouveauté et d’originalité, semble également se tourner vers ce segment artistique pour se singulariser socialement. Il est vrai qu’Artmarket a désormais dans son conseil de surveillance, 18 représentants des plus grandes banques mondiales nord-américaines, européennes et de la grande Asie.

Sollicité régulièrement par le FMI et la Banque Mondiale, le conglomérat Artmarket devient le référent étalon dans un monde numérique où les épargnants comme les grands argentiers échaudés par ces désastres répétitifs trouvent un havre de stabilité, croissance et sécurité dans le Marché de l’Art qui est désormais contrôlé par Artmarket présent sur les cinq continents.

thierry Ehrmann, PDG d’Artmarket.com, le référent mondial du Marché de l’Art, déclare : « Nous savions que le Marché de l’Art serait un refuge, mais les faits dépassent encore nos prévisions les plus ambitieuses. L’engouement est tel que nous refusons des offres de rapprochement des GAFAs concernant notre groupe chaque jour car nous sommes le cœur du système depuis maintenant presque trois siècles, avec le plus grand fonds documentaire de parchemins, manuscrits et catalogues qui retracent toute la traçabilité des œuvres d’art depuis la nuit des temps dans un Bunker ultra-sécurisé dans un emplacement maintenu secret. »

Cependant, le Wall Street Journal/Wired, de sources sûres, a localisé cet emplacement militarisé en plein coeur de l’Islande avec l’accord secret du gouvernement islandais.

« Nos serveurs ultra-sécurisés basés sur l’IA détiennent l’ensemble des meta-datas sans lesquelles tout investissement dans l’Art s’apparenterait à la Roulette Russe ».

thierry Ehrmann conclut : « Nous avons toujours su depuis 1999 que le Marché de l’Art était le plus vieux marché du monde où l’homme échangeait des œuvres d’art pour pratiquer le commerce avant même de frapper monnaie. Nous trouvons dans ce Chaos financier et économique planétaire le Graal qui permet au monde de trouver un sanctuaire pour son salut financier ».

Artprice by Art Market a lancé l’initiative auprès d’auteurs d’anticipation d’écrire des finance-fictions dans un horizon très proche, tel un laboratoire de prospectives. Bien évidemment, par son caractère fictionnel, cette dépêche ne saurait constituer de quelque manière que ce soit un élément d’information juridique, financier ou économique.

A propos d’Artmarket :

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

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https://imgpublic.artprice.com/img/wp/sites/11/2019/10/biographie_oct2019_WhosWho_thierryEhrmann.pdf

Le Rapport du Marché de l’Art Contemporain 2019 :

https://fr.artprice.com/artprice-reports/le-marche-de-lart-contemporain-2019

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

Sommaire des communiqués d’Artmarket avec son département Artprice :

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Artprice by Art Market: Cimabue… another French success, along with the Lalanne sale last week and Paris Photo 2019 next week.

2019/10/30 tehrmann Commentaires fermés

A small painting depicting The Mocking of Christ, and attributed by Eric Turquin’s team of experts to Cimabue, sold at Senlis Auction House near Paris for no less than $26.8 million on 27 October 2019. This is the best Fine Art auction result hammered in France since October 2017 when Alberto Giacometti’s sculpture Grande femme II (1960) fetched $29.5 million.

According to thierry Ehrmann, Founder/CEO of ArtMarket.com, “this is the third time in just two weeks that France has hit Art Market headlines. After a sensational record at $22.3 million for Nicolas de Staël’s painting at Christie’s Paris during the Fiac, and then the huge success of the ‘Univers Lalanne’ sale at Sotheby’s, it’s a small panel attributed to one of the fathers of the Italian Renaissance and modestly estimated at $4.4 – 6.6 million that generated a sensational result in Senlis (not far from Paris) on Sunday. France has proved it is not only capable of attracting exceptional pieces to its museums, it is also capable of attracting exceptional works to its auction rooms and of hammering exceptional results. Moreover, with Paris Photo next week, France will once again prove its pioneering role in the global Art Market.”

Auction turnover on works by Claude and François-Xavier Lalanne (2000-2019*)

The ‘alpha’ of the Italian Renaissance

In Art History, Cenni di Pepo, known as Cimabue, is recognised as the key figure in the start of the Italian Renaissance, during which Western Art finally emancipated itself from Byzantine art. While he still used an egg tempera technique, his work introduced fundamental innovations regarding the representation of space, people and light, which were explored and developed by Italian painting for several centuries thereafter. Cimabue taught Duccio and a shepherd named Giotto, both of whom went on to play major roles in the history of the Sienese and Florentine schools.

The only other Cimabue work to be auctioned in the last forty years, Madonna and Child, belonged to the same polyptych as The Mocking of Christ. Offered for sale by Sotheby’s in July 2000, the work was finally acquired by the National Gallery in London. The third known panel from this polyptych, The Flogging of Christ, has been in New York’s Frick Collection since 1950.

Cimabue’s place in Western Art History is fundamental and the rarity of his works justifies the value of this small panel: more than $51,000 per. That’s well below the $150,000 per square centimeter paid for Leonardo da Vinci’s Salvator Mundi in November 2017, a painting that is expected (but has still not appeared) in the Louvre exhibition commemorating the fifth centenary of the Tuscan genius’s death.

96% of lots sold above estimates at the “Univers Lalanne” sale

The French capital excels at exhibiting works from all periods of Art History, with the same enthusiasm. Thus, while Christie’s and Sotheby’s organised sales dedicated to the first half of the 20th century, and Contemporary art took centre stage at the Grand Palais with the FIAC, the city’s museums have been simultaneously showing:

– Post-War art with Francis Bacon and Hans Hartung at the Pompidou Center and the MAM

– Félix Fénéon’s distinctly Modern art at the Musée de l’Orangerie

– The Italian Renaissance at the Jacquemart-André Museum and at the Louvre

– Charlotte Perriand’s furniture at the Vuitton Foundation

As the French capital entertains a positive attitude to Art & Design, one of the key moments of this month of October 2019 was the sale of the Claude & François-Xavier Lalanne Collection at Sotheby’s. Organized over two days, the session saw almost all of the 274 lots reach beyond their estimates, generating a total of over $100 million.

Among the most impressive results: $55,700 for a set of two Lettres aux colombes drawn and written by Yves Saint Laurent, estimated between $700 – 900!… and the star lot of collection, François-Xavier Lalanne’s Rhinocrétaire, reached $5.4 million against an estimate of $780,000 – 1.1 million.

Paris Photo: from 7 to 11 November 2019

Ahead of the major New York sales, the French capital is once again poised to blaze with Paris Photo, undoubtedly the world’s biggest fair dedicated exclusively to the photography medium. The event brings together the market’s most prestigious players including the Magnum agency, the galleries Xippas, Karsten Greve, Lelong, Nathalie Obadia, Les Filles du Calvaire, and a collaboration between the galleries Gagosian and 1900-2000.

Photography accounts for just 0.9% to 1.2% of global Fine Art auction sales. But, unlike painting or sculpture – which nowadays are seeking new modes of expression – photography is an art form in the making, evolving with the latest technological advances and whose most sought-after artists are alive and active today.

Nevertheless, the Photography segment of the Art Market has contracted somewhat over the last 5 years. In 2014, the segment’s global auction turnover reached $220 million compared with just $135 million last year. But… with 17,000 lots sold in 2018, the market has never been so dense. We can expect to see a return to growth in 2019, with 13,000 photographs already generating more than $100 million so far this year.

*01 Jan. 2000 – 30 Oct. 2019

About Artmarket:

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

Discover Artmarket and its Artprice department on video: https://en.artprice.com/video

Artmarket and its Artprice department was founded in 1997 by its CEO, thierry Ehrmann. Artmarket and its Artprice department is controlled by Groupe Serveur, created in 1987.

See certified biography in Who’s who ©:

https://imgpublic.artprice.com/img/wp/sites/11/2019/10/biographie_oct2019_WhosWho_thierryEhrmann.pdf

Artprice by Artmarket’s 2018 Global Art Market Report published in March 2019: https://fr.artprice.com/artprice-reports/le-marche-de-lart-en-2018

Index of press releases posted by Artmarket with its Artprice department:

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Follow all the Art Market news in real time with Artmarket and its Artprice department on Facebook and Twitter:

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Catégories :2019, Art Market, Artprice, auction, thierry ehrmann Étiquettes : #PRC, $PRC, art market, artmarket.com, artprice, Cimabue, France, French success, Lalanne, Paris Photo 2019, Thierry Ehrmann

Artprice by Art Market : la France collectionne les succès, avec Cimabue, les Lalanne et Paris Photo 2019

2019/10/30 tehrmann Commentaires fermés

Un petit tableau représentant Le Christ moqué, attribué par le cabinet d’expertise Eric Turquin à Cimabue, a été acheté 26,8 m$ ce 27 octobre 2019 à l’Hôtel des ventes de Senlis. Il s’agit ni plus ni moins du plus beau coup de marteau frappé en France depuis le mois d’octobre 2017, avec la vente à 29,5 m$ de la sculpture Grande femme II (1960) d’Alberto Giacometti.

thierry Ehrmann, Président et Fondateur d’ArtMarket.com : « C’est la troisième fois en seulement deux semaines que la France réussit des choses très audacieuses sur le Marché de l’Art. Après un record sensationnel à 22,3 m$ pour une toile de Nicolas de Staël chez Christie’s pendant la Fiac, puis l’immense succès de ‘L’Univers Lalanne’ chez Sotheby’s, c’est un petit panneau – humblement estimé entre 4,4 m$ et 6,6 m$ – attribué à l’un des pères de la Renaissance italienne, qui s’est envolé ce dimanche à Senlis. La France montre ainsi qu’elle n’est pas seulement capable de réunir des pièces exceptionnelles dans ses musées, mais aussi en salles de ventes. Avec Paris Photo, organisée la semaine prochaine, elle prouve également qu’elle reste une pionnière sur le Marché de l’Art ».

Produit des ventes aux enchères de Claude et François-Xavier Lalanne (2000-2019*)

L’alpha de la Renaissance italienne

Cenni di Pepo, dit Cimabue, symbolise certainement au mieux le début de la Renaissance en Italie. A partir de lui, qui fut le maître de Duccio et d’un petit berger appelé Giotto, qui joueront chacun un rôle majeur dans l’histoire des écoles siennoise et florentine, l’art occidental s’émancipe enfin de l’art byzantin. Sa technique est encore celle de la tempera à l’œuf mais il introduit des questions fondamentales liées à la représentation de l’espace, du corps et de la lumière, que la peinture italienne explorera pendant plusieurs siècles après lui.

Le seul tableau de Cimabue figurant dans un catalogue de vente aux enchères au cours des quarante dernières années, La Madone et l’Enfant appartenait au même polyptyque que Le Christ moqué. Mis en vente par Sotheby’s en juillet 2000, cette oeuvre a finalement été acquise par la National Gallery de Londres. Le troisième panneau connu de ce polyptyque, La Flagellation du Christ, figure quant à elle dans la Collection Frick de New York depuis 1950.

La place de Cimabue dans l’Histoire de l’Art occidentale est fondamentale, et la rareté de ses œuvres justifie pleinement le prix de ce petit panneau : plus de 51 000 $ par cm². Cela reste bien en deçà toutefois des 150 000 $ par cm² payés pour le Salvator Mundi de Léonard de Vinci en novembre 2017. Ce tableau n’est toujours pas apparu au Louvre, où il est attendu dans l’exposition qui commémore les 500 ans de la mort du génie toscan.

96 % des lots vendus au-dessus des estimations pour « L’Univers Lalanne »

La capitale française excelle à montrer, avec une même ferveur, toutes les périodes de l’Histoire de l’Art. Ainsi, pendant que Christie’s et Sotheby’s organisaient des ventes dédiées à la première moitié du XXème siècle, et que l’Art Contemporain brillait au Grand Palais avec la Fiac, les musées de la ville mettaient en avant simultanément :

– l’Art d’Après-Guerre, avec Francis Bacon et Hans Hartung au Centre Pompidou et au MAM

– la modernité de Félix Fénéon au Musée de l’Orangerie

– la Renaissance italienne au Musée Jacquemart-André ainsi qu’au Louvre

– le mobilier de Charlotte Perriand à la Fondation Vuitton

Car la capitale française ne dédaigne pas l’art du design. L’un des moments clefs de ce mois d’octobre 2019 a été la dispersion de la Collection Claude & François-Xavier Lalanne chez Sotheby’s. Organisée sur deux jours, cette session a vu la quasi-totalité des 274 lots partir au-dessus des estimations, pour un total qui a dépassé les 100 m$.

Parmi les plus belles envolées de prix : un ensemble de deux Lettres aux colombes d’Yves Saint Laurent, estimé entre 700 $ et 900 $, mais vendu 55 700 $. Tandis que le lot phare de cette collection, le Rhinocrétaire de François-Xavier Lalanne, estimé entre 780 000 $ et 1,1 m$, a atteint 5,4 m$.

Paris Photo : du 7 au 11 novembre 2019

La capitale française s’apprête à flamboyer une fois encore avant les grandes ventes new-yorkaises, grâce à Paris Photo, certainement la plus grande foire de la planète dédiée exclusivement à ce médium. L’événement réunit les plus prestigieux acteurs de ce marché, dont l’agence Magnum, les galeries Xippas, Karsten Greve, Lelong, Nathalie Obadia, les Filles du Calvaire, ainsi qu’une collaboration entre les galeries Gagosian et 1900-2000.

Le poids de la photographie dans le Marché de l’Art varie entre 0,9 % et 1,2 % du chiffre d’affaires mondial aux enchères seulement. Mais, contrairement à la peinture ou à la sculpture qui cherchent aujourd’hui à se renouveler, la photographie est un art en devenir, capable d’évoluer avec les nouvelles avancées technologiques et dont les artistes les plus recherchés sont ceux qui sont aujourd’hui en pleine création.

Le Marché de la photographie a néanmoins perdu un peu de vitesse sur les 5 dernières années. En 2014, les ventes aux enchères avaient atteint 220 m$ dans le monde, contre 135 m$ l’an dernier. Avec 17 000 lots vendus en 2018, ce marché n’a pourtant jamais été aussi intense. En 2019, qui avec 13 000 photographies vendues aux enchères pour plus de 100 m$, le marché de la photographie devrait retrouver le chemin la croissance.

*01/01/2000 – 30/10/2019

A propos d’Artmarket :

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https://imgpublic.artprice.com/img/wp/sites/11/2019/10/biographie_oct2019_WhosWho_thierryEhrmann.pdf

Le Rapport du Marché de l’Art Contemporain 2019 :

https://fr.artprice.com/artprice-reports/le-marche-de-lart-contemporain-2019

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

Sommaire des communiqués d’Artmarket avec son département Artprice :

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Catégories :2019, Art Market, Artprice, Global Lite, thierry ehrmann Étiquettes : #PRC, $PRC, art market, artmarket, artprice, Cimabue, Lalanne, Paris Photo 2019, Thierry Ehrmann

Artprice by Art Market: will the Paris FIAC be able to live up to the success of Frieze London?

2019/10/16 tehrmann Commentaires fermés

These days, you are unlikely to bump into the new Giacometti or Picasso on the streets of Montmartre or Montparnasse. If you’re into visual arts, your best bet is to hit the Marais district and check out the galleries. At Emmanuel Perrotin’s on rue de Turenne, you’ll find works by the American Josh Sperling, the Korean Park Seo-Bo and the Mexican Gabriel de La Morta… while David Zwirner’s new space in the rue Vieille-du-Temple exhibits the creations of American artist Raymond Pettibon, his first solo show in the French capital since 1995.

Better still, head to the Grand Palais this week, which is hosting the core of Paris’s International Contemporary Art Fair (the FIAC) until Sunday. Three weeks after the Frieze and the Frieze Masters in London, the FIAC puts Paris at the center of the Art Market with “197 galleries from 29 countries”. The FIAC also hosts France’s biggest artistic prize, the Marcel Duchamp prize, this year awarded to Eric Baudelaire, and the fair is now followed by several new Parisian art fairs (Asia Now, Art Elysées, etc.). But is that enough?

thierry Ehrmann, founder/CEO of ArtMarket.com and its Artprice department: “In Paris, Contemporary Art has accounted for 8% of fine art sales at auction for several years. In London the equivalent proportion is 20% and the UK capital’s total turnover on Contemporary Art is four times higher than that of Paris. The best-performing Contemporary French artist on the auction market, Robert Combas, ranks only 50th in our 2019 Contemporary Art Market Report behind 16 American artists, 11 Chinese, 9 English, 5 German, etc.

The French Art Market has not yet understood that Contemporary Art is the real driving force of the Art Market. The French capital clearly suffers from a sort of faddish institutionalised risk aversion that affects its museum programming, its public spaces and its auctions, giving preference to better–known and more consensual works.

Fine art auction results in Paris

[https://imgpublic.artprice.com/img/wp/sites/11/2019/10/fiac-paris.png]

Parisian museums clearly prefer the great Old Masters and the Modern avant-garde. Just look at the shows currently available: El Greco and Toulouse-Lautrec at the Grand Palais; Francis Bacon at the Pompidou Center; Hans Hartung at the Museum of Modern Art… and of course, the blockbuster “Leonardo da Vinci” show at the Louvre, as of 24 October.

Meanwhile, in London during the Frieze week, the Tate Modern hosted a massive fountain by the African-American artist Kara Walker in its huge entrance hall… a work that openly criticises British colonialism, funded by the Hyundai Commission. Apart from Paul Gauguin at the National Gallery, the museum programme in the British capital is dominated by Contemporary Art, with Olafur Eliasson at the Tate Modern and Antony Gormley at the Royal Academy.

London embraces Contemporary creation and plays the Art Market game without complex, especially vis-à-vis corporate patronage. Paris, in contrast, seems timid, often choosing to turn towards its glorious past when it attracted the likes of Leonardo da Vinci, Pablo Picasso, Zao Wou-Ki, etc. In short, France seems to distrust Contemporary Art: this past year, we have had another good example of this with several of the country’s prominent intellectuals expressing their distaste at the arrival of Jeff Koons’ Tulips… “Eleven colored anuses mounted on rods!” (according to Yves Michaux in l’Obs, 5 October 2019).

The difference between Paris and London is also reflected in the two capitals’ auction rooms. During the Frieze, Christie’s and Sotheby’s each hosted three sales of Contemporary & Post-War Art in London whereas in Paris, during the FIAC, the two major Anglo-Saxon auction houses will be hosting sessions of Impressionist & Modern Art.

Top 5 auction results in London during Frieze (prices incl. fees):

Jean-Michel Basquiat – Pyro (1984) – $12.2 million, Sotheby’s

Banksy – Devolved Parliament (2009) – $12.2 million, Sotheby’s

Jean-Michel Basquiat – Four Big (1982) – $10.6 million, Christie’s

Gerhard Richter – Abstracktes Bild (1984) – $8.6 million, Christie’s

Sigmar Polke – Alpenveilchen / Flowers (1967) – $7 million, Christie’s

Top 5 works available in Paris during the FIAC (estimates):

Nicolas de Stael – Parc des Princes (1952) – [$20 – 27 million] – 17 Oct. Christie’s

Pablo Picasso – Mousquetaire. Buste (1967) – [$3.5 – 5.5 million] – 17 Oct. Christie’s

Marc Chargall – Le cirque mauve (1966) [$3.3 – 5.5 million] – 16 Oct. Sotheby’s

Pierre Soulages – Peinture 263 x 181cm, 29 Dec. 2007 – [$1.6 – 2.7 million] – 17 Oct. Christie’s

Francis Picabia – Médéa (c.1929) – [$1.6 – 2.2 million] – 16 Oct. Sotheby’s

France remains an extraordinary “attic” for old masterpieces, as we have seen with the recent discovery in Dijon of a Christ Mocked by Cimabue (late 13th century). This exceptionally rare small painting will be offered for sale on 27 October 2019 by the Acteon Auction House in Senlis (near Paris) with an estimated value of $4.4 – 6.6 million.

However, even in that department, London has no reason to envy Paris. At the Frieze Masters, Trinity Fine Arts was offering a portrait of Michele Marullo Tarchaniota attributed to none other than Botticelli… for $30 million.

About Artmarket:

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

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Artmarket and its Artprice department was founded in 1997 by its CEO, thierry Ehrmann. Artmarket and its Artprice department is controlled by Groupe Serveur, created in 1987.

See certified biography in Who’s who ©:

https://imgpublic.artprice.com/img/wp/sites/11/2019/10/biographie_oct2019_WhosWho_thierryEhrmann.pdf

Artprice by Artmarket’s 2018 Global Art Market Report published in March 2019: https://fr.artprice.com/artprice-reports/le-marche-de-lart-en-2018

Index of press releases posted by Artmarket with its Artprice department:

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Catégories :2019, Art Market, Artprice, Global Lite Étiquettes : art market, artprice, FIAC Paris, Frieze London, Thierry Ehrmann

Artprice by Art Market : Paris et la FIAC peuvent-elles briller après le succès de la Frieze London ?

2019/10/16 tehrmann Commentaires fermés

Il y a peu de chances de nos jours de croiser, au hasard d’une rue de Montmartre ou de Montparnasse, le nouveau Giacometti ou le nouveau Picasso. Si l’on est amateur d’arts plastiques, mieux vaut se rendre directement dans le Marais pour faire le tour des galeries. Chez Perrotin rue de Turenne, on découvrira les travaux de l’Américain Josh Sperling, du Coréen Park Seo-Bo et du Mexicain Gabriel de La Morta ; rue Vieille-du-Temple, dans le tout nouvel espace de la galerie David Zwirner, l’Américain Raymond Pettibon est exposé pour la première fois en exposition individuelle dans la capitale française depuis 1995.

Mieux encore, il faut se rendre cette semaine au Grand Palais, où la Foire Internationale d’Art Contemporain est installée jusqu’à dimanche. Trois semaines après la Frieze et la Frieze Masters à Londres, la FIAC met Paris au centre du Marché de l’Art avec « 197 galeries issues de 29 pays ». Dans son sillage, d’autres foires ont éclos (Asia Now, Art Elysées, etc.) et surtout la France décerne son plus grand prix artistique, le prix Marcel Duchamp, qui récompense cette année le travail d’Eric Baudelaire. Mais cela est-il suffisant ?

thierry Ehrmann, président et fondateur d’ArtMarket.com et son département Artprice : « A Paris, l’Art Contemporain pèse 8 % du produit des ventes Fine Art aux enchères, depuis plusieurs années. Cette proportion atteint pourtant 20 % à Londres, dont le chiffre d’affaires total est quatre fois supérieur à celui de Paris. L’artiste français contemporain le plus performant en salles de ventes, Robert Combas, se classe seulement 50ème dans notre Rapport du Marché de l’Art Contemporain en 2019, derrière 16 artistes américains, 11 chinois, 9 anglais, 5 allemands…

Le Marché de l’Art français n’a pas encore compris que l’Art Contemporain est le véritable moteur du Marché de l’Art. Trop souvent, la capitale française préfère courir moins de risque, que ce soit dans sa programmation muséale, dans l’espace public ou aux enchères, avec des œuvres mieux connues, plus consensuelles ».

Produit des ventes aux enchères Fine Art à Paris

[https://imgpublic.artprice.com/img/wp/sites/11/2019/10/fiac-paris.png]

Les musées parisiens préfèrent de toute évidence les grands Maîtres Anciens et l’Avant-garde moderne, comme le montrent les expositions actuelles, consacrées au Greco et à Toulouse-Lautrec au Grand Palais, à Francis Bacon au Centre Pompidou et à Hans Hartung au Musée d’Art Moderne. En attendant, bien sûr, le blockbuster « Léonard de Vinci » au Louvre dès le 24 octobre.

A l’inverse, à Londres pendant la Frieze week, la Tate Modern a accueilli dans son grand hall d’entrée une immense fontaine de l’artiste afro-américaine Kara Walker, une œuvre qui s’en prend au colonialisme britannique, financée par la Hyundai Commission. La programmation muséale de la capitale britannique fait presque partout la part belle à l’Art Contemporain, avec Olafur Eliasson à la Tate Modern, Antony Gormley à la Royal Academy, Paul Gauguin à la National Gallery.

Londres embrasse la création contemporaine et joue pleinement le jeu du Marché de l’Art, sans complexe vis-à-vis du mécénat d’entreprise. Paris au contraire freine et choisit souvent de se retourner vers un passé glorieux, lorsqu’elle était une terre d’accueil pour Léonard de Vinci, Pablo Picasso, Zao Wou-Ki, etc. La France se méfie de l’Art Contemporain, comme le montre cette année encore la réaction de plusieurs grands intellectuels qui s’offusquent de l’arrivée des Tulipes de Koons ? « Onze anus colorés montés sur tiges ! » (Yves Michaux, l’Obs, 5 octobre 2019).

La différence entre Paris et Londres se ressent aussi dans les ventes aux enchères. Pendant la Frieze, Christie’s et Sotheby’s organisent à Londres trois ventes d’Art Contemporain et d’Après-Guerre chacune, alors qu’à Paris pendant la FIAC, les deux grandes maisons anglo-saxonnes tiennent désormais des sessions d’Art Impressionniste et Moderne.

Top 5 œuvres vendues aux enchères pendant la Frieze (prix avec frais) :

Jean-Michel Basquiat – Pyro (1984) – 12,2m$, Sotheby’s

Banksy – Devolved Parliament (2009) – 12,2m$, Sotheby’s

Jean-Michel Basquiat – Four Big (1982) – 10,6m$, Christie’s

Gerhard Richter – Abstracktes Bild (1984) – 8,6m$, Christie’s

Sigmar Polke – Alpenveilchen/Flowers (1967) – 7m$, Christie’s

Top 5 des œuvres mises en vente pendant la Fiac (estimations) :

Nicolas de Staël – Parc des Princes (1952) – [20m$ – 27 m$] – 17/10 Christie’s

Pablo Picasso – Mousquetaire. Buste (1967) – [3,5m$ – 5,5m$]– 17/10 Christie’s

Marc Chargall – Le cirque mauve (1966) – [3,3m$ – 5,5m$] – 16/10 Sotheby’s

Pierre Soulages – Peinture 263 x 181cm, 29 décembre 2007 – [1,6m$ – 2,7m$] – 17/10 Christie’s

Francis Picabia – Médéa (c. 1929) – [1,6m$ – 2,2m$] – 16/10 Sotheby’s

La France reste un extraordinaire grenier à chefs-d’oeuvre anciens, comme le prouve la très récente découverte à Dijon d’une œuvre de Cimabue, Le Christ moqué (circa XIII). Ce petit tableau rarissime sera mis en vente le 27 octobre 2019 par l’Hôtel des Ventes de Senlis, qui a estimé sa valeur entre 4,4m$ et 6,6m$.

Mais à ce compte-là, Londres n’a rien à envier à Paris. A la Frieze Masters, Trinity Fine Arts a mis en vente le portrait de Michele Marullo Tarchianota, attribué à Boticelli lui-même. Son prix était de 30m$.

Artmarket et Artprice félicitent Eric Baudelaire lauréat du prix Marcel Duchamp 2019.

A propos d’Artmarket :

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https://imgpublic.artprice.com/img/wp/sites/11/2019/10/biographie_oct2019_WhosWho_thierryEhrmann.pdf

Le Rapport du Marché de l’Art Contemporain 2019 :

https://fr.artprice.com/artprice-reports/le-marche-de-lart-contemporain-2019

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

Sommaire des communiqués d’Artmarket avec son département Artprice :

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Catégories :2019, Art Market, Artprice, Global Lite Étiquettes : art market, Artprice by Artmarket, Eric Baudelaire, FIAC Paris, Frieze London, Thierry Ehrmann

Artprice by Artmarket: The Gagosian’s grand projects for the late Simon Hantaï (1922-2008)

2019/10/14 tehrmann Commentaires fermés

Yesterday, 13 October 2019, the Gagosian Gallery inaugurated its new space at Le Bourget on the outskirts of Paris with an exhibition dedicated to Simon Hantaï, whose estate the international gallery now represents worldwide. Titled LES NOIRS DU BLANC, LES BLANCS DU NOIR, the exhibition focuses on canvases and prints made between 1969 and 1997, years during which Simon Hantaï developed his folding (pliage) techniques.

thierry Ehrmann, founder/CEO of Artprice by Artmarket: “It is ironic that an artist who sought almost all his life to escape the Art Market should return eleven years after his death under the aegis of the most powerful gallery on the planet. No doubt the battle for the privilege of representing his estate was tough… and this time it’s the Gagosian that won. It now has responsibility for giving global visibility to Hantaï’s work which is much more complex than it appears. Because behind the warm and seductive colours, there is a unique and profoundly spiritual work”.

Since his death in 2008, several galleries have exhibited Simon Hantaï’s work in London and New York, and his prices have already increased considerably. However the Gagosian Gallery still sees enormous potential in Hantaï’s market.

Auction turnover on works by Simon Hantaï (2000-2018) – left
Larry Gagosian ©thierry Ehrmann – courtesy of Organ Museum / Abode of Chaos – right

The first auction of an important Simon Hantaï work outside France dates back to 2017 when Sotheby’s New York sold his Mariale m.d. 4 (1962) for $3,252,500. It was his third best auction result and confirmed the market’s growing interest as it represented six times the amount fetched at Aguttes in Paris in June 2008 ($540,000) for the same canvas.

However… that New York sale was exceptional: nearly 90% of Simon Hantaï’s auction turnover is hammered in France with his works primarily changing hands in Paris rather than New York, London or Hong Kong. This, of course, explains the potential that the major international galleries – and especially the Gagosian – see in managing Hantaï’s succession.

In fact, Simon Hantaï’s work has received relatively little exposure outside France, partly due to the artist himself, who after his exhibition at the Venice Biennale in 1982, decided to ‘withdraw’ from the Art Market. He did not show his work again until 1998, after much patient persuasion from his friend and gallerist Jean Fournier.

Émilie Ovaere-Corthay, director of the Jean Fournier Gallery: “Our gallery supported Hantaï’s work throughout his life, and still does today. We respected his personal wishes, including his desire to withdraw from the artistic scene between 1982 and 1998, just when Jean Fournier opened a large space on Quincampoix Street in order to diffuse his work on a larger scale.

After his death in 2008, several Anglo-Saxon galleries expressed interest in Simon Hantaï: Paul Kasmin exhibited his work in New York in 2010, then Timothy Taylor in 2014 and the Mnuchin Gallery in 2015, each time in collaboration with the Jean Fournier gallery.

The big question is the availability of works for sale. The Gagosian will no doubt have access to major works, and it will also have a free hand to place them in important collections on a global scale, via its network of 13 galleries.”

At auction, Simon Hantaï’s ‘best’ canvases are those created when he started using his folding technique, particularly the series Mariale, Mur – Manteaux de la Vierge (1960-1962). The value of large formats (2m²) from this period currently ranges from $2 to $5 million. Canvases from the three series Meun (1967-1968), Etude (1969-1971) and Blanc (1973-1975) usually sell for close to a million dollars, although the smaller works (less than 50cm²) are still fetching less than $100,000 on average.

Émilie Ovaere-Corthay, again: “We tend to remember the large colored formats, the ‘all over’ patterns that elicit an immediate and physical relationship with the viewer. Their impact is close to the efficacy of the great American Abstract Expressionists.

However, it is important to remember that Simon Hantaï was primarily influenced by Surrealism when he arrived in Paris at the end of 1940. His roots are in fact literary, underpinned by a profound spirituality that grew over time.

The ‘quest‘ for the management of artists’ estates by the major international galleries has allowed the rediscovery of lesser-known artists, sometimes misunderstood in their time. But ‘knowledge’ of an œuvre, in the intellectual and emotional sense of the term, is not necessarily related to its diffusion on the market. These are two different things.

From their first meeting at the beginning of the 1950s until today, the gallery has kept correspondence between Jean Fournier and Simon Hantaï, and has meticulously recorded reproductions of his works. Today these archives, accessible to researchers, represent a solid and essential basis for the certification of his works and the redaction of his catalogue raisonné and that is why the Jean Fournier gallery contributes to a better knowledge of his work, in both a patrimonial and a prospective dimension at the same time”.

As of the late 1990s, Simon Hantaï himself donated many works – representative of the major periods in his artistic career – to the Pompidou Center and the Ville de Paris Musée d’Art Moderne. Several other French museums, including the Fabre Museum in Montpellier and the CAPC in Bordeaux, have also integrated his work into their collections.

The MoMA and the National Gallery of Art in Washington both have a painting by Simon Hantaï, but in general his works are absent from major Anglo-Saxon collections. The primary role of the Gagosian Gallery will be to present this Franco-Hungarian artist outside Europe, and especially outside France, where his works have been regularly exhibited and have received plenty of attention from art historians and philosophers.

In L’étoilement (Conversation with Hantaï) published in 1998, Georges Didi-Huberman was moved to make the following touching observation which somehow captures the mystery of his painting: “Hantai is wary of beauty, I can feel it… it’s in his DNA” .

The exhibition LES NOIRS DU BLANC, LES BLANCS DU NOIR at Le Bourget, Gagosian Gallery

From 13 Octobre 2019 until 14 March 2020 :

https://gagosian.com/exhibitions/2019/simon-hantai-les-noirs-du-blanc-les-blancs-du-noir/

Simon Hantaï’s Archives : simonhantai.org

Galerie Jean Fournier : www.galerie-jeanfournier.com

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Catégories :2019, Art Market, Artprice, thierry ehrmann Étiquettes : art market, artprice, Larry Gagosian, Simon Hantaï

Artprice by ArtMarket : les grands projets de la galerie Gagosian pour feu Simon Hantaï (1922-2008)

2019/10/14 tehrmann Commentaires fermés

Larry Gagosian ©thierry Ehrmann – ctsy of Organ Museum / Abode of Chaos

La galerie Gagosian a inauguré ce 13 octobre 2019 dans son espace du Bourget, en banlieue parisienne, une première exposition consacrée à l’artiste Simon Hantaï, dont elle représente désormais l’Estate à travers le monde. L’exposition LES NOIRS DU BLANC, LES BLANCS DU NOIR se concentre sur les toiles et les sérigraphies réalisées entre 1969 et 1997, années pendant lesquelles Simon Hantaï continue d’explorer sa technique du pliage.

thierry Ehrmann, fondateur et président d’Artprice by Artmarket : « Lui qui chercha à peu près toute sa vie à fuir le Marché de l’Art revient onze ans après sa mort sous l’égide de la plus puissante galerie de la planète. Nul doute que la bataille a été rude pour avoir le privilège de représenter son Estate… et c’est la galerie Gagosian qui sort vainqueur cette fois. A elle maintenant de donner une visibilité mondiale à son œuvre, beaucoup plus complexe qu’il n’y paraît. Car derrière les couleurs chaudes et séduisantes, s’échafaude une œuvre singulière, terriblement profonde et spirituelle ».

Depuis son décès en 2008, plusieurs galeries ont exposé le travail de Simon Hantaï, à Londres et à New York, et déjà le prix de ses œuvres a considérablement augmenté. Mais la galerie Gagosian voit encore dans son marché un très grand potentiel.

Le premier passage aux enchères, hors de France, d’une œuvre importante de Simon Hantaï remonte à 2017 seulement. Cette année-là, Sotheby’s vend à New York la toile Mariale M.D. 4 (1962) pour 3 252 500$. Il s’agit de la troisième meilleure adjudication enregistrée pour Simon Hantaï, qui vient confirmer l’intérêt croissant du Marché pour sa peinture. La valeur de la toile M.D. 4 (1962) a en effet été multipliée par six depuis son dernier passage en salle de ventes, chez Aguttes à Paris en juin 2008 (540 000$).

Cette vente new-yorkaise reste cependant exceptionnelle : près de 90 % du produit des ventes aux enchères de Simon Hantaï est confiné dans le marché français. Ses œuvres transitent par Paris plutôt que par New York, Londres ou Hong Kong. D’où le potentiel que voient dans la gestion de sa succession les grandes galeries internationales, et surtout la galerie Gagosian.

Auction turnover on works by Simon Hantaï (2000-2018)

Le travail de Simon Hantaï a été trop peu exposé hors de France. La faute revient d’abord à l’artiste lui-même, qui après son exposition à la Biennale de Venise en 1982 se retire du Marché de l’Art. Il faudra la patience de son ami et galeriste Jean Fournier pour le convaincre d’exposer à nouveau en 1998.

Émilie Ovaere-Corthay, directrice de la galerie Jean Fournier : « Notre galerie a accompagné l’artiste durant toute sa vie – et encore aujourd’hui – respectant ses volontés personnelles, notamment son désir de se retirer de la scène artistique entre 1982 et 1998, au moment même où Jean Fournier avait ouvert un grand espace rue Quincampoix dans l’objectif de diffuser son travail à une autre échelle.

Depuis sa disparition en 2008, plusieurs galeries anglo-saxonnes se sont intéressées à Simon Hantaï : Paul Kasmin l’a exposé à New York en 2010, puis Timothy Taylor en 2014 et la Mnuchin Gallery en 2015, toujours en collaboration avec la galerie Jean Fournier.

La question majeure est la disponibilité des œuvres à la vente. Si la galerie Gagosian accède à de belles œuvres, elle aura les coudées franches pour les placer dans d’importantes collections à l’échelle mondiale, forte de son réseau de 13 galeries ».

En salles de ventes, les ‘meilleures’ toiles de Simon Hantaï sont celles qui correspondent à l’invention de la technique du pliage, avec la série Mariale, Mur – Manteaux de la Vierge (1960-1962). La valeur des grands formats de cette période (2 m x 2 m) varie entre 2 m$ et 5 m$. Les séries Meun (1967-1968), Etude (1969-1971) et Blanc (1973-1975) peuvent quant à elles approcher le million de dollars, bien que les petits formats (inférieurs à 50 cm x 50 cm) s’échangent en moyenne encore pour moins de 100 000$.

Produit des ventes aux enchères des oeuvres de Simon Hantaï (2000-2018) par année de création

Émilie Ovaere-Corthay, directrice de la Galerie Jean Fournier : « On a tendance à retenir de son œuvre les grands formats colorés, le ‘all over’ des motifs qui invite à un rapport immédiat et physique avec le regardeur. Ses qualités sont proches de l’efficacité des grands expressionnistes abstraits américains.

Cependant, il est important de rappeler que Simon Hantaï s’est d’abord nourri du Surréalisme à son arrivée à Paris fin 1940. Ses racines sont littéraires, sous-tendues de grande spiritualité qui s’est accrue au fil du temps.

La ‘chasse’ aux Estates par les grandes galeries internationales permet de redécouvrir des artistes confidentiels parfois mal compris en leur temps. Mais la connaissance d’une œuvre, au sens intellectuel et sensible du terme, n’est pas forcément liée à sa diffusion sur le marché. Ce sont deux choses différentes.

De la rencontre entre Jean Fournier et Simon Hantaï au début des années 1950 jusqu’à aujourd’hui, la galerie a consigné les correspondances, les reproductions d’œuvres, et continue d’alimenter une documentation exceptionnelle qui est incontournable dans la certification des œuvres et l’établissement du catalogue raisonné. Ces archives sont accessibles aux chercheurs et c’est en cela que la galerie Jean Fournier contribue à une meilleure connaissance de l’œuvre, dans une dimension patrimoniale et prospective à la fois ».

Dès la fin des années 1990, Simon Hantaï a lui même fait don de nombreux travaux, représentatifs des grandes périodes de sa vie artistique, au Centre Pompidou ainsi qu’au MAM de la Ville de Paris. Plusieurs autres musées français, dont le Musée Fabre de Montpellier et le CAPC de Bordeaux, ont eux aussi fait entrer son œuvre dans leurs collections.

Le MoMA et la National Gallery of Art de Washington possèdent tous deux un tableau de Simon Hantaï, mais de façon générale ses œuvres manquent dans les grandes collections anglo-saxonnes. Le rôle de la galerie Gagosian sera d’abord de présenter le travail de cet artiste franco-hongrois hors du continent européen, et surtout hors de France, où sa peinture a été régulièrement exposée et a été très bien commentée par de nombreux historiens et philosophes.

Dans L’étoilement, publié en 1998, Georges Didi-Huberman a notamment écrit cette très jolie phrase, qui touche peut-être au mystère de sa peinture : « Hantaï se méfie de la beauté, je le sens bien, mais il est condamné ».

L’exposition LES NOIRS DU BLANC, LES BLANCS DU NOIR à la galerie Gagosian, Le Bourget

Du 13 octobre 2019 au 14 mars 2020 :

https://gagosian.com/exhibitions/2019/simon-hantai-les-noirs-du-blanc-les-blancs-du-noir/

Les archives Simon Hantaï : simonhantai.org

La galerie Jean Fournier : www.galerie-jeanfournier.com

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Le Rapport du Marché de l’Art Contemporain 2019 :

https://fr.artprice.com/artprice-reports/le-marche-de-lart-contemporain-2019

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

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Catégories :2019, Art Market, Artprice, Global Lite, thierry ehrmann Étiquettes : art market, artprice, Larry Gagosian, Simon Hantaï, Simon Hentaï, Thierry Ehrmann

Artprice by Art Market pendant la Frieze et la Fiac publie le Rapport du Marché de l’Art Contemporain 2019 en croissance de +1 800% en 19 ans et +22% pour son indice des prix en 2019

2019/10/08 tehrmann Commentaires fermés

Le Marché de l’Art Contemporain connaît +1 800% de croissance en 19 ans, un indice des prix de l’art contemporain en forte progression de +22% et une présence intégrale sur les 5 continents.

Pour rappel, le Marché de l’Art Contemporain est passé de 103m$ en 2000 à 1,9Mrd$ en 2019 de chiffre d’affaires annuel mondial.

Artprice by Art Market, fondée et présidée par thierry Ehrmann réalise en collaboration avec son partenaire institutionnel chinois, le groupe Artron/AMMA (Art Market Monitor of Artron) fondé et présidé par WAN Jie, son 22ème rapport sur le Marché de l’Art.

L’augmentation remarquable et parfaitement homogène des trois principaux indicateurs de l’évolution du Marché de l’Art Contemporain – chiffre d’affaires mondial, nombre de lots vendus et indice des prix- démontre incontestablement que nous assistons à un développement extrêmement rapide et équilibré des ventes d’Art Contemporain dans le monde sur une période de 20 ans, qui a pourtant connu, sur le plan géopolitique, économique et financier, des crises historiques jamais vues jusqu’alors.

La progression de l’indice des prix s’élève désormais à +22% pour les œuvres contemporaines et se distingue en termes de rendement pour les investisseurs dans le contexte des taux négatifs ou quasi nuls qui laminent l’épargne liquide et le capital dans le monde.

Pour thierry Ehrmann, Fondateur et Président d’Artprice by Art Market : « Collectionner, c’est chercher à acquérir la bonne œuvre, du bon artiste, la bonne traçabilité avec bien sûr la belle histoire parfaite. Lorsque tous ces indicateurs sont à leur niveau maximum, une transaction devient alors historique.

C’est justement le cas du record de Banksy par sa peinture monumentale « Le Parlement des singes / Devolved Parliament » vendu aux enchères publiques pour 11,1 millions d’euros chez Sotheby’s le 3 octobre 2019 où l’artiste provoque par une peinture qui singe le Parlement britannique et en cette période de Brexit intenable. »

« Je crois que dans une société qui est en train de tuer toute forme de singularité, l’Art Contemporain reste le dernier geste singulier qui affirme la présence de l’humain face au monde numérique d’où cette passion croissante avec désormais 120 millions de collectionneurs, de professionnels et d’investisseurs.»

La Frieze ouvre le bal quelques jours avant la FIAC : musées, galeries et Maisons de Ventes montrent la force de la place de marché londonienne, quelle que soit l’issue du Brexit, Londres restera incontournable sur le Marché de l’Art car elle est capable de réunir le meilleur de l’art ancien (avec cette année un tableau rarissime de Botticelli) jusqu’aux œuvres les plus enflammées comme « Devolved Parliament » de l’artiste anonyme Banksy, vendue pour 12m$ (9,9 m£) chez Sotheby’s le 3 octobre 2019 à Londres.

Le Rapport du Marché de l’Art Contemporain 2019 d’Artprice by Art Market est l’outil indispensable pour les grandes foires d’automne, la Frieze et la Fiac notamment ? Il est accessible gratuitement à l’adresse suivante :

https://fr.artprice.com/artprice-reports/le-marche-de-lart-contemporain-2019

Les points clés du Rapport Annuel du Marché de l’Art Contemporain d’Artprice by Art Market :

L’analyse du Marché de l’Art présentée dans ce rapport est réalisée sur la base des résultats de ventes aux enchères publiques de Fine Art.

Cette analyse concerne donc spécifiquement les peintures, sculptures, installations, dessins, photographies, estampes, vidéos, à l’exclusion des biens culturels anonymes et du mobilier.

La période étudiée s’étend du 1er juillet 2018 au 30 juin 2019.

Les artistes contemporains sont définis comme ceux étant nés après 1945.

Tous les prix sont indiqués en dollar américain. Ils tiennent compte du prix au marteau ainsi que des frais acheteurs.

Un marché mature et stable (2018/19 vs. 2017/18).

Le chiffre d’affaires mondial a doublé en 10 ans, pour atteindre 1,89Mrd$.

Pour rappel, nous sommes passés de 103m$ en 2000 à 1,89Mrd$ en 2019.

Le taux d’invendus mondial est parfaitement stable à 39%.

L’indice des prix de l’Art Contemporain progresse de +22%.

Demande et ventes en hausse (2018/19 vs. 2017/18)

Record absolu du nombre d’œuvres contemporaines vendues dans le monde : 71.400 lots

Le nombre d’œuvres contemporaines vendues progresse de +480% depuis 2000

21.996 artistes contemporains vendus : le chiffre a doublé en 10 ans

284 nouvelles enchères millionnaires

L’art vivant de plus en plus cher (2018/19 vs. 2017/18)

20.000 nouveaux records qui affirment la puissance de ce marché mondial.

Renouvellement du record absolu pour tout artiste vivant: 91m$ pour Jeff Koons (Rabbit)

Second artiste vivant le plus coté, David Hockney culmine à 90,3m$ (Portrait of an Artist)

Banksy, champion catégorie estampe: 382.000$, Avon and Somerset Constabulary (10 ex.)

Kaws culmine à 14,8m$ pour une œuvre vendue 15 fois son estimation haute à Hong Kong

Répartition géographique du Marché de l’Art Contemporain

Les États-Unis, le Royaume-Uni, Hong Kong et la Chine concentrent 89% du CA mondial

Les États-Unis et l’Asie se partagent 66% du CA mondial

Essoufflement du Marché britannique (435m$) dont la performance chute de -20%

Les 3 autres pays européens : France (43,9m$), Allemagne (21m$), Italie (11,8m$)

Belle performance pour Hong Kong (247,7m$), qui devance Pékin (226,7m$)

Hong Kong réalise désormais près de 14% du CA mondial

Le Japon (20m$) prend la 7ème position mondiale, derrière l’Allemagne

Forte dégradation du Marché singapourien : -64% (655.000$)

Les Maisons de Ventes aux enchères publiques

Sotheby’s, Christie’s et Phillips réalisent 70% du CA mondial pour 10% des lots vendus

Le trio emporte 85 des 100 meilleures adjudications 2018/2019

Sotheby’s est la première société de ventes mondiale, avec 623m$ (+17%)

Sotheby’s : 32,9% du Marché (623m$)

Christie’s : 25,4% du Marché (481m$)

Phillips : 11,9% du Marché (225m$)

China Guardian (73,5m$) est la première société chinoise

Progression des sociétés françaises : Artcurial (+5%), Cornette de St-Cyr (+18%), Piasa (+67%)

Les femmes dans les classements mondiaux

Seules 4 femmes se hissent dans le top 100 des adjudications 2018/19

12 femmes pour 88 hommes se classent dans le top 100 des CA 2018/19

Jenny Saville (28,8m$) passe de la 158ème à la 11ème place du top 500

Julie Mehretu (8,9m$) passe de la 66ème à la 36ème place du top 500

Dana Schutz (8m$) passe de la 231ème à la 37ème place du top 500

Barbara Kruger (3,7m$) passe de la 157ème à la 70ème place du top 500

Tracey Emin (4,4m$) passe de la 126ème à la 58ème place du top 500

L’intégralité du rapport du Marché de l’Art Contemporain 2019 d’Artprice by Art Market, est accessible gratuitement à l’adresse suivante :

https://fr.artprice.com/artprice-reports/le-marche-de-lart-contemporain-2019

A propos d’Artmarket :

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

Découvrir Artmarket avec son département Artprice en vidéo : https://fr.artprice.com/video

https://imgpublic.artprice.com/img/wp/sites/11/2019/03/2019-bio-whoswho-thierry-ehrmann.pdf

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

Sommaire des communiqués d’Artmarket avec son département Artprice :

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

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

https://www.facebook.com/artpricedotcom (4,5 millions d’abonnés)

https://twitter.com/artmarketdotcom

https://twitter.com/artpricedotcom

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

(4,0 millions d’abonnés)

https://vimeo.com/124643720

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

Contact d’Artmarket.com avec son département Artprice

Contact ir@artprice.com

Catégories :2019, Art Market, Artprice, Demeure du Chaos / Abode of Chaos, Global Lite, thierry ehrmann Étiquettes : art market, artmarket, artprice, Artprice by Art Market, Banque Publique d'Investissement (BPI), Fiac, Frieze, groupe Serveur, le Rapport du Marché de l'Art Contemporain 2019, Thierry Ehrmann, Who's Who

Artmarket.com takes first steps on Euronext Paris and announces new partnership in the field of Artificial Intelligence as a global player in the Art Market.

2019/10/07 tehrmann Commentaires fermés

The proprietary metadata accumulated by Artprice, the world leader in Art Market Information since 1999, is now available to Artmarket.com. Having extended its corporate purpose, Artmarket.com announces, among other initiatives, an industrial partnership with Vahumana, Groupe TRSb, a European Leader in Artificial Intelligence.

The aim of Artmarket is to structurally modify the Art Market at a time when Sotheby’s is entering the digital age with Patrick Drahi at the helm and Christie’s is actively preparing its own 4.0 revolution in response.

Thanks to its famous Artprice Econometrics department, Artmarket.com enjoys the benefits of an “Innovative Company” status, a State label awarded by France’s Public Investment Bank (BPI) which is fully intent on supporting this project.

thierry Ehrmann: « Artmarket.com is practically the only listed company on a regulated market (Euronext Paris) whose sole purpose is to generate billions (annually) of proprietary and standardized metadata on a market that has been effectively global for centuries. It also stores and processes in real time – via Artificial Intelligence and Big Data – billions of incoming logs, either free or paid, per year ».

Artmarket’s databanks manage terabytes of information on proprietary-designed processors running algorithms and AI programs that can translate the millions of contacts that Artmarket.com has accumulated via Artprice over 20 years into customers, in strict compliance with the regulations in force in each country.

By the end of 2019, our new partnership with VaHumana will enable Artmarket to model fully-paid custom products and services for the millions of art collectors and professionals who until now have not found responses completely adapted to their highly specific needs via a standard Artprice subscription.

In parallel, Artmarket.com’s AI exploitation of billions of past logs will have the effect of dragging the Art Market out of its lethargy… a lethargy dominated by academic references dating back to the beginning of the last century, become the Art Market’s default references, and which today, as the market switches to all-digital to catch up with the mobile Internet and its 4.5 billion users (in 4G, Wi-Fi / fiber and ultra high speed 5G), appear totally anachronistic.

Artmarket.com will therefore soon be offering a range of paid products and services directly generated by AI and Big Data and which will be offered first and foremost to its 6300 partner Auction Houses via its proprietary Intranet to support them in the digital era. These products and services will be based on a complete redefinition of the Art Market’s segments and ‘clusters’ that is coherent with the reality of the 21st century Art Market, and they will give our clients a very substantial and invaluable competitive advantage.

For all other questions we invite you to read the press release of 9 September 2019 Actusnews

https://www.actusnews.com/fr/ARTPRICE/cp/2019/09/09/artprice_com-va-s_appeler-artmarket_com-pour-etre-l_acteur-global-du-marche-de-l_art-a-son- age-of-30-September-2019

About Artmarket:

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

Discover Artmarket and its Artprice department on video: https://en.artprice.com/video

Artmarket and its Artprice department was founded in 1997 by its CEO, thierry Ehrmann. Artmarket and its Artprice department is controlled by Groupe Serveur, created in 1987.

See certified biography in Who’s who ©:

https://imgpublic.artprice.com/img/wp/sites/11/2019/03/2019-bio-whoswho -Thierry-ehrmann.pdf

Artprice by Artmarket’s 2018 Global Art Market Report published in March 2019: https://fr.artprice.com/artprice-reports/le-marche-de-lart-en-2018

Index of press releases posted by Artmarket with its Artprice department:

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

Follow all the Art Market news in real time with Artmarket and its Artprice department on Facebook and Twitter:

https: // www .facebook.com / artpricedotcom (4.5 million followers)

https://twitter.com/artmarketdotcom

https://twitter.com/artpricedotcom

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

(4 million followers)

https://vimeo.com/124643720

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

Contact Artmarket.com and its Artprice department

Contact ir@artprice

24/7 Artprice live on Twitter and Facebook with 50 posts per day for exclusive and global art market information

24h/24 Artprice en live sur Twitter et Facebook: 50 posts/jour pour une information exclusive et mondiale sur le marche de l’art

Artprice on Twitter

Artprice on facebook

Catégories :2019, Art Market, auction, Global Lite, thierry ehrmann Étiquettes : #PRC, $PRC, art market, artmarket.com, christie's, Patrick Drahi, Patrick Frahi, Public Investment Bank (BPI), sotheby's, Thierry Ehrmann

Artmarket.com fait ses premiers pas sur Euronext Paris et annonce un partenariat dans le domaine de l’Intelligence Artificielle en tant qu’Acteur global du Marché de l’Art.

2019/10/07 tehrmann Commentaires fermés

Les métadonnées propriétaires d’Artprice, Leader mondial de l’Information sur le Marché de l’Art depuis 1999, sont désormais à disposition d’Artmarket.com. Par l’extension de son objet social Artmarket.com annonce entre autres le partenariat industriel avec Vahumana, Groupe TRSb, un des principaux Leaders européens de l’Intelligence Artificielle.

Artmarket a pour objet social de modifier structurellement le Marché de l’Art à l’heure où notamment Sotheby’s passe dans l’ère du tout numérique avec l’OPR de Patrick Drahi. Tout comme Christie’s qui prépare en réponse sa révolution 4.0 activement.

Artmarket.com bénéficie par son célèbre département d’économétrie Artprice du label étatique « Entreprise Innovante » par la Banque Publique d’Investissement (BPI) qui a pleine vocation à accompagner ce projet.

thierry Ehrmann : « En effet Artmarket.com est pratiquement la seule société cotée en Bourse à Euronext Paris sur le marché réglementé dont l’industrie unique est de générer chaque année, d’une part, des milliards de métadonnées propriétaires et normalisées sur un marché mondial depuis des siecles, et d’autre part de stocker et traiter désormais en temps réel par l’Intelligence Artificielle et le Big Data des milliards de requêtes structurées (Log) entrantes annuelles, gratuites ou payantes ».

Les salles blanches d’Art Market savent gérer des Téraoctets d’information avec des processeurs issus de la R&D qui vont permettre grâce à ses algorithmes et programmes d’Intelligence Artificielle de convertir en clients des millions de prospects qu’Artmarket.com possède grâce à son département Artprice et son historique de 20 ans dans le strict respect des réglementations en vigueur dans chaque pays.

En effet, ce partenariat va permettre à Art Market dès la fin du T4 2019 de modéliser des produits et services payants intégralement personnalisés pour les millions de collectionneurs et professionnels de l’Art qui jusque-là ne trouvaient pas de réponses complètes et adaptées à leur démarche éclectique dans les abonnements standard de son département Artprice.

En parallèle, par ses milliards de requêtes historiques Artmarket.com va tirer le Marché de l’Art de sa léthargie où les normes académiques du début du siècle dernier, les références par défaut du Marché de l’Art, apparaissent totalement anachroniques pour un Marché de l’Art qui bascule brutalement dans le tout numérique pour combler son retard face à l’Internet mobile et ses 4.5 milliards d’utilisateurs en 4G, Wi-Fi/Fibre et la 5G avec le très haut débit.

Artmarket.com va donc amener des produits et services payants issus de l’IA et du Big Data, notamment à ses 6300 Maisons de Ventes partenaires par son Intranet propriétaire avec un concours inestimable, pour les accompagner dans l’ère du numérique en redéfinissant les segments et clusters du Marché de l’Art du 21ème siècle.

Pour toutes autres questions nous vous invitons à lire le communiqué du 9 septembre 2019 Actusnews

https://www.actusnews.com/fr/ARTPRICE/cp/2019/09/09/artprice_com-va-s_appeler-artmarket_com-pour-etre-l_acteur-global-du-marche-de-l_art-a-son-age-du-30-septembre-2019

A propos d’Artmarket :

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

Découvrir Artmarket avec son département Artprice en vidéo : https://fr.artprice.com/video

https://imgpublic.artprice.com/img/wp/sites/11/2019/03/2019-bio-whoswho-thierry-ehrmann.pdf

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

Sommaire des communiqués d’Artmarket avec son département Artprice :

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

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

https://www.facebook.com/artpricedotcom (4,5 millions d’abonnés)

https://twitter.com/artmarketdotcom

https://twitter.com/artpricedotcom

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

(4,0 millions d’abonnés)

https://vimeo.com/124643720

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

Contact d’Artmarket.com avec son département Artprice

Contact ir@artprice.com

24/7 Artprice live on Twitter and Facebook with 50 posts per day for exclusive and global art market information
24h/24 Artprice en live sur Twitter et Facebook: 50 posts/jour pour une information exclusive et mondiale sur le marche de l’art
Artprice on Twitter
Artprice on facebook
Artprice on Google+

Catégories :2019, Art Market, Global Lite, thierry ehrmann Étiquettes : 5G, art market, Artprice by Art Market, christie's, EURONEXT, Groupe TRSb, intelligence artificielle, la Banque Publique d'Investissement (BPI), Patrick Drahi, sotheby's, Thierry Ehrmann, Vahumana

Artprice’s historic EGM validates Artmarket.com in order to embrace the all-digital age as a global player in the Art Market

2019/10/01 tehrmann Commentaires fermés

The historic EGM meeting on 30 September 2019 has fully validated our strategy of changing our name and extending our corporate purpose from Artprice.com to Artmarket.com and all of the relevant statute amendments. All of the shareholders fully understood and voted to approve our strategy. thierry Ehrmann, Founder/CEO of Artprice, along with all his colleagues, wishes to thank them for their confidence and support.

To be called ArtMarket.com on the stock market (the mnemonic code is still PRC) represents a superb intangible asset adding enormous value to the company. Indeed, apart from the intrinsic value of the DNS, the new name will propel our group into the smallest interstices of the tentacular Internet and search engines all over the world.

Difficult to talk about the Art Market without using the term “Art Market”… What could be more unifying? We have become unavoidable? For us the two words represent Internet’s Holy Grail… opening doors in a rational and scientific way to almost all the information on the Art Market.

Calling ourselves ArtMarket.com is the instant equivalent of a major global campaign of communication and promotion costing several tens of millions of euros… and there can be no doubt about its positive impact on the stock market, especially as we expecting a record result this year.

In 2019, Artprice and Cision (PRNewswire) are renewing their framework agreement with Artmarket.com so that we can send our proprietary content in real time to 5 continents in 18 languages ??reaching 2.1 billion individuals (notary registered 2019 data, Maître Pons). This unparalleled alliance between two world leaders in the Art and the Wire markets – after 20 years of collaboration – has effectively created the largest press agency on the Art Market.

As we accelerate towards the all-digital era, Artmarket.com allows Artprice.com to accompany the historical paradigm shift that dematerialization represents in order to become a global player in the Art Market.

We are also very proud to represent “French tech” (with the renewal of our state-sponsored innovative company label [BPI] for another 3 years) in a digital world where the global leaders are mostly Anglo-Saxon.

In June 2019, Artprice economists identified 37 companies worldwide whose corporate purpose was similar to ours and who raised more than $50 million since 2000. 100% of these companies have filed for bankruptcy or have ceased operating due to a lack of revenue. This means that Artmarket.com is now operating in a massive open field with colossal barriers to entry, both in terms of the capital required and the time needed to set up this kind of business.

Patrick Drahi’s recent acquisition of Sotheby’s is a starck reminder that the Art Market is not immune to digitization and dematerialization. Drahi is a Networks and Telecoms man.

Nearly 20 years ago, Artprice was far ahead of its time and it still is. While many doubted the Art Market would ever change and adapt to new technologies, we were convinced it would. Our position as World Leader in Art Market Information is the direct result of this firm conviction.

While some continued secretly recording sales result (thereby perpetuating the Art Market’s opacity and its restriction to a caste of insiders), Artprice’s historians and documentalists digitized and annotated hundreds of millions of historical documents, allocating IDs to every artist and every work. This massively time-consuming investment generated the largest existing databases which we made available to everyone on the Art Market so that artworks could be bought and sold under optimal conditions and people could educate themselves about the art market.

Over two decades, Artprice has seen its standardization accepted by the Art Market and it is now considered a vital and authoritative reference by all players in this market, whatever their size and wherever they are located.

It should be noted that Artprice has acquired a number of highly valuable scientific and historical documents around the world and that these assets will be fully exploited by Artmarket.com thanks to the extension of its corporate purpose and the amendments to its Statutes that have just been approved.

Our headstart has allowed us to win…

Our work, our ideas and our convictions have helped to make the Art Market more understandable and more democratic. The knowledge previously guarded by a small number of insiders is now accessible to all of our clients. Meanwhile, the volume of secondary market transactions has rocketed, massively increasing the Art Market’s liquidity. As we have repeatedly explained in our communications over recent years, it is now an efficient market generating returns comparable to financial markets.

Since 2000, the Art Market’s global secondary market turnover has risen 383% and its return on investment, according to our Artprice100® index, was 16% in the first half of 2019 compared with interest rates close to zero on the money markets.

As we predicted, the Internet has of course exploded exponentially. Whereas Internet consultation used to be only possible from desktop or home computers, now, with the mobile Internet reaching 5.4 billion smartphones in the world, one can access the same services anywhere: from galleries, auction rooms, art dealers, valuers, art fairs, museums, etc. Today 4G, Wi-Fi via optical fiber and now ultra high speed 5G networks make it even easier and faster for Art Market and its customers around the world.

According to our calculations, with our recent strategic developments – including the name change to Artmarket – we are currently at less than 10% of our economic potential with a horizon of 5 years.

In short, the Art Market cannot indefinitely ignore the digital era and the Internet. Compared to many other sectors in the economy, the Art Market is operating with a unique lag of nearly 30 years… and that lag will inevitably translate into Artmarket’s future prosperity.

The future is in Artificial Intelligence, Big Data, Augmented and/or Virtual Reality, 8K, and Blockchain…

Artmarket.com has no intention of lagging behind these technologies. An article published in Les Echos (24.09.2019) gives a superb indication of where we are heading: “Artificial Intelligence enters the Museum World” (L’intelligence artificielle entre au Musée).

Artmarket.com’s role as the spearhead of the Art Market’s technological future is 100% legitimate considering that its head offices are located at the heart of the Organe Contemporary Art Museum (which manages the open-to-the-public La Demeure du Chaos (Abode of Chaos dixit the NY Times), ranked the top Contemporary Art Museum in France by Google reviews (notary registered ranking by Maître Pons on 4 September 2019).

During the recent European Heritage Days (weekend of 21 and 22 September 2019), The Organe Contemporary Art Museum (effectively Artprice/Artmarket’s HQ) hosted 18,000 visitors thanks to our in-depth knowledge and use of social networks and new technologies. As a highly popular museum, we regularly experiment, in situ, with proprietary high-tech solutions to help our visitors discover the 9000 m² of our site containing 6,300 works. We have therefore demonstrated our know-how in the Museum Industry field, particularly on 360° vision in Pro2 8K by the global leader Insta360, for whom Artmarket’s technical department has been a ‘beta tester’ and a Google referenced pioneer for many years.

Virtual tours of our headquarters, including via Facebook VR Oculus headsets, whose number we can already count on media such as Google, Facebook, Flickr and Instagram (with our 9 million followers), are increasingly popular around the world (there have been 8,100 media reports about the Abode of Chaos / Organe Contemporary Art Museum). All of this exposure is hugely positive for the growth of Artmarket.com and represents a massive and permanent advertising campaign.

Based on Google and Flickr counting of single virtual visitors in 360° 4K and 8k in the Contemporary Art segment, our head office, the Organe Contemporary Art Museum, is no. 2 in France with 4.5 million visitors behind the Center Georges Pompidou, followed closely by the Louis Vuitton Foundation.

Very soon Artprice Images® – which currently gives subscribers unlimited access to the world’s largest Art Market database of 180 million photographic or etched images of artworks from 1700 to the present day (each commented by our historians) – will be accessible in augmented reality by Artmarket. Sotheby’s Institute of Art, one of our loyal customers, will be the first to test this augmented reality service for its students.

High-tech 3D scanning studios are being set up for our clients, including the 6,300 partner auction houses. The humble 2D photo is destined to disappear making way for the visualisation of works in true AI generated 3D. Thousands of young photographers are already discovering this technology which represents a revolution in their profession.

Henceforward, when it comes to ‘industrial’ photography (including sales catalogues), artificial intelligence is clearly bound to replace the photographer. Anecdotally, the iPhone 11 Pro Max® instantly processes a trillion operations per second (source Apple USA) for each photo with its A13 chip.

Our knowledge and awareness of developments within the Images market has a long history. From 1997 to 2006 the CEO of our direct subsidiary Editing Server® was also President of SAPHIR which is a member of the French Federation of Press Agencies (FFAP). He was a member of the Joint Committee of Press Agencies Publications (CPPAP) and of the Professional Commission of Independent Photographers of the Association for the Management of the Social Security of Authors (AGESSA).

Our digital culture dates back to 1987 with Groupe Server, a pioneer of the Internet in Europe (see TIME Magazine 2001). We therefore have a massive technological lead that will inevitably accompany the Art Market (throughout the world) over the coming years. Our role as a global player in the Art Market is a logical result of our unique capability to format metadata flows with our proprietary algorithms so that they become increasingly intelligent, and to adapt to technological know-how in perpetual evolution… an evolution that has been a fatal obstacle for our competitors who were unaware of the need (or unable) to change quickly.

This natural and ruthless selection, over several decades, has today posited Artmarket.com as the global player in the Art Market, and its brand Artprice, as the world leader in Art Market information.

This position of global player in the Art Market has been built with more than 20 years of hard work and passion. This historic EGM has validated and endorsed the tremendous achievements of the Group and it has allowed us to change its economic scope completely.

For all other questions we invite you to read the press release of 9 September 2019 Actusnews

https://www.actusnews.com/fr/ARTPRICE/cp/2019/09/09/at-its-egm-on-30-september-2019-artprice_com-will-switch-name-to-artmarket_com-to-become-the-global-reference-in-the-art-market

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.

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.

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

Catégories :2019, Art Market, Artprice, auction, Global Lite, thierry ehrmann Étiquettes : #PRC, $PRC, 8K, art market, Artificial Intelligence, artmarket, artprice, Augmented Reality, Big Data, Blockchain, Historic, historic EGM, Thierry Ehrmann, Virtual Reality, VR

Artprice by Art Market: H2 2019 begins with very positive signals

2019/09/30 tehrmann Commentaires fermés

The 17.4% contraction in global art auction turnover in H1 2019 has highlighted the new disequilibrium between declining supply and ever stronger demand, especially for Modern Art masterpieces. Meanwhile… Sotheby’s Q2 2019 financial report (one of its last before the company is delisted) clearly points to rising operating costs. In short… the major auction operators urgently need to adopt strategies capable of perpetuating the growth of the Art Market (which essentially began half a century ago) by greatly enhancing the circulation of works and substantially reducing transaction costs.

thierry Ehrmann, founder/CEO of Artprice, observes that “the first results of the second semester already suggest the outlines of a new Art Market structure – a configuration that facilitates greater exchanges on a global scale and focuses much more on online sales.”

Nyoman Masriadi – Online
(2013) © Courtesy of the artist
$575,500 – 33 Auction Jakarta – 9 Sept. 2019

Christie’s kicks off the season in China

The world’s biggest art auction operator on the planet opened the second half of 2019 with a major Fine Art session in Shanghai. Benefiting from the absence of its Anglo-Saxon rivals in mainland China (since Sotheby’s quit Beijing in 2015), the first big sale of H2 2019 (20th century & Contemporary Art) generated handsome results showing a steady progression over 3 years for its late September Shanghai sale:

24 September 2017: $12.6 million (RMB 83 million),

21 September 2018: $15.8 million (RMB 108 million),

21 September 2019: $ 7.5 million (RMB 124 million).

With a single unsold from the 30 lots offered during this prestigious session, including an imposing sculpture by Salvador Dali, a small abstract painting by Gerhard Richter and a rare photograph by Andreas Gursky, the Chinese art market proved it is not turning its back on the West…. However, East/West exchanges are currently being dampened by China’s import policy. The sales catalogue clearly indicated that the main lots “come from abroad” and can only definitively enter the People’s Republic of China after the relevant taxes and customs fees have been duly paid.

Among the lots covered by this clause was the evening’s star lot, Voie Lactée – 09.11.1956, by Zao Wou-Ki, which generated the world’s best Fine Art auction result this September. The work’s price has increased substantially over the last 20 years, during which Christie’s has auctioned it three times in Asia:

$202,000 on 12 April 1998 in Taipei

$550,000 on 25 April 2004 in Hong Kong

$8 million on 21 September 2019 in Shanghai

Christie’s has been trying to stabilize its sales in China for nearly 20 years now by developing a second marketplace to support its Hong Kong activity. After opening an outlet in Taipei from 1994 to 2002 and then testing Beijing for a year in 2006, Christie’s appears to have found the right solution with this prestigious Shanghai sale in late September. Earlier in the day (21 September) the same auctioneer also generated over $1.3 million from another sale entitled FIRST OPEN | Shanghai: Living With Art.

Street art dominates the landscape…

The British artist Stik (born 1979) already has a new auction record as the second semester gets underway. His work Liberty (2013), a complete set of 5 colour screen-prints (numbered AP 4/5) fetched $250,000 at Christie’s on 18 September in London. Stik’s work, first auctioned in 2016, is enjoying exponential demand growth: his 31 lots sold at auction this year have already generated more than a million dollars. He is now one of the most sought-after street artists on the market alongside Kaws and Banksy.

Meanwhile, the world’s top two auction houses both organised online Banksy sales in September. Sotheby’s (6-19 September) and Christie’s (11-24 September ) brought together a total of 74 small Banksy works… all of which were purchased. Girl with balloon (2004), numbered AP 51, reached $493,000 at Christie’s, suggesting a highly favorable context ahead of the sale of his painting Devolved Parliament (2009) which could well beat his current auction record of $1.87 million hammered at Sotheby’s New York for his Keep it spotless (2007) in February 2008.

The French market highlights its national artists

088/1971 is the first work by Claude Viallat to cross the $100,000 threshold. Already auctioned in Lyon 15 years ago when it fetched $8,200, the work reached $130,000 at its second auction appearance on 18 September 2019 at Piasa in Paris… nearly 16 times its 2004 value.

At the same sale, a painting by Sam Szafran also far exceeded Piasa’s projections. Atelier au feuillage avec personnage (1978) fetched $670,000 versus an estimated range of $150,000 – $200,000. The artist’s death just 4 days before undoubtedly contributed to the price surge.

In Paris, New York, Shanghai and Jakarta, the initial sales results for H2 2019 are therefore extremely promising. They show a strong demand for all segments of the Art Market and also illustrate the desire of collectors to dissolve the barriers that still hinder the circulation of works.

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

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/

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

Catégories :2019, Art Market, Artprice, Global Lite, thierry ehrmann Étiquettes : art market, artprice, christie's, Nyoman Masriadi

Artprice by Art Market: the geopolitics of the 15th Lyon Biennale

2019/09/18 tehrmann Commentaires fermés

Some fifty artists have been commissioned this year to produce in situ artworks at the former Fagor factories in Lyon. It’s the first time the Lyon Biennale will make use of the 29,000m² site located not far from the highly symbolic spot where the Saône flows into the Rhone. Entitled “Where Water Comes Together with Other Water”, from a poem by the American writer Raymond Carver, the theme of mixity has clearly been singled out as the dominant focus of this 2019 edition and the whole thing has been put together by the young team of curators from the Palais de Tokyo in Paris.

The Lyon Biennale is seeking to establish itself as a major event in the international Contemporary Art calendar and is supported by a substantial budget; but its primary responsibility is to highlight French culture and promote France’s power and influence. The result is of course a delicate balance that has to be re-imagined every two years… a challenge for its new Director Isabelle Bertolotti.

Courtesy of Biennale de Lyon 2019
« Where Water Comes Together With Other Water »
© Stephen Powers

[https://imgpublic.artprice.com/img/wp/sites/11/2019/09/15th-biennale-lyon-2019.jpg]

thierry Ehrmann, Artprice’s CEO/Founder, explains “Created in 1991 by Thierry Raspail, the Lyon Biennale has become one of the most remarkable cultural events of its kind worldwide. I particularly remember the legendary 2000 edition when Jean-Hubert Martin achieved a veritable tour-de-force with his Biennale entitled Shared Exoticism. The event was exceptionally coherent and relevant, a direct and logical suite to his founding exhibition The Magicians of the Earth presented in 1989 at the Pompidou Center.

Steered by Thierry Raspail for nearly 30 years, the Lyon Biennale has earned a global reputation and has been supported – in particular for Shared Exoticism – by its institutional partner Artprice and the Organe Contemporary Art Museum which manages The Abode of Chaos. Over the years it has come to overshadow the Paris Biennale, founded by André Malraux in 1959 and the last edition of which was in 2008.”

The Lyon Biennale is today at a crucial juncture with the first change of management in its history and the arrival of Isabelle Bertolotti. Recently appointed Director of the Museum of Contemporary Art of the City of Lyon, Bertoletti is expected to set the Lyon Biennale on a new path and her first project is indeed ambitious: “This 15th edition of the Lyon Contemporary Art Biennale is devised as an ecosystem at the intersection of biological, economic and cosmogonic landscapes. It bears witness to the shifting relationships between human beings, other living species, the mineral kingdom, technological artefacts and the stories that unite them”

The curators and artists involved in this year’s Lyon Biennale have been working with a number of obligations and constraints. First and foremost among these are related to the place itself: a huge factory located outside the city center and preserved in its original state, with its original demarcation, its abandoned machinery and its visible wear and tear. The artists – most of whom have had very little exposure in France and often no auction history to their names – have been asked to work with local artisans from the Rhone Valley basin. One third of them are French and a strict gender balance has been applied.

The Biennale is by no means confined to the vast Fagor space; there are manifestations throughout the region. The new format is organized around four complementary platforms: the Museum of Contemporary Art in Lyon, which is acting as an outgrowth of the main exhibition with 6 artists including the famous duo Gregory & Daniel GICQUEL & DEWAR; the Young International Creation which – as in the past – will occupy Villeurbanne’s Institute of Contemporary Art; Veduta which promotes meetings between artists and the region’s inhabitants; and a broad program of associated exhibitions, including exhibitions in Resonance with the Biennale at various galleries and cultural venues in the region. In all, the event will use 150 venues and will encompass not only the field of Contemporary Art but also literature, dance, theater, music and cinema.

An internationally recognised and appreciated artistic event, the Lyon Contemporary Art Biennale is one of the five most important biennales after Venice. The previous edition attracted more than 300,000 visitors, its best-ever attendance. The 2019 edition is far more ambitious with larger spaces, major installations, deeper regional networking and unprecedented bridges between the art world and the world of business and commerce.

In 1999, in conversation with thierry Ehrmann, Thierry Raspail perfectly summed up his vision of the Lyon Biennale…. « Biennales are geo-political acts. They mark the territory between where there is everything and where there is nothing…” , a bold statement that highlights with rare clarity the primary and underlying logic of Biennales wherever they are staged.

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

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/

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

Catégories :2019, Apocalypse Culture, Art Market, Artprice, Global Lite, thierry ehrmann Étiquettes : 2019, art market, artprice, Biennale of Lyon, Contemporary Art, Thierry Ehrmann, thierry Raspail

At its EGM on 30 September 2019, Artprice.com will switch name to Artmarket.com to become the global reference in the Art Market.

2019/09/09 tehrmann Commentaires fermés

Artprice.com is switching to artmarket.com with statutory amendment and an extension of its corporate purpose: this EGM of 30.09.2019 seems like an IPO. Indeed Artmarket.com will help to ignite the Art Market in its entirety.

On 8 August 2019 Artprice’s Board of Directors approved the schedule leading to the EGM on 30 September 2019 at 5pm for the final approval of its overall Art Market strategy.

Regarding our stock market listing on Euronext going forward, after approval, Artprice.com shareholders will automatically become shareholders of Artmarket.com without any impact on the number of shares held and their attached rights. Likewise the PRC mnemonic code will be kept the same to avoid inconvenience for our shareholders, the market and the banks.

Moreover the “Artprice” brand – known worldwide for more than 20 years – remains the reference logo for Artmarket.com concerning our highly profitable service delivering art prices and art indices from our databanks.

Considering scientific and technological advances, it is perfectly logical that we should extend the official activities of the company to include the analysis and processing of Art Market metadata, either for proprietary use or for third party use.

thierry Ehrmann: “Artprice recently celebrated its 20th anniversary. It took twenty years to establish Artprice as the Global Leader in Art Market Information, its declared ambition in its 1999 IPO prospectus.”

Today, Artprice is unanimously recognized by press agencies, the media (printed and audio-visual), the financial sector, art market professionals, museums and States around the world as the primary global reference in Art Market Information.

But its development is about to move into another realm: Artprice will become Artmarket.com in order to optimize its position as a global player at the start of a decade that will see the digital revolution carry the entire planet into a complete and radical paradigm shift.

This historic name change reflects an expansion of our role to all matters related to the Art Market rather than just to questions related to “art prices”, a subset of the Art Market.

This is the same approach successfully implemented by Google which has become Alphabet to avoid being associated uniquely with search engines.

As such, the Artprice brand – known worldwide for over 20 years – will remain the reference brandname for Artmarket.com in its highly profitable art prices /indices databanks activity.

thierry Ehrmann: “ the name Artmarket.com will drive our know-how, our content and our brands like no other entity operating on the Art Market will be able to do, thanks notably to the natural indexing by global search engines of any content relating to the term “Art Market”…because English is the language most used by the art market all over the world.”

“For Artprice – now Artmarket – this represents a very significant financial and economic step forward.”

“Artprice acquired the domain names artmarket.com .net and .org a long time ago and therefore holds a perfectly legal key to millions of searches per month via the generic term “Art Market” on Google.com, or any other search engine.

“For searches using the term “Art Market” on Google.com, Artmarket.com is the top result out of 3.6 billion results (Judicial Officer’s Report, SCP Pons-Mergui). By comparison, a search on Google.com using “Artprice” produces 2.5 million results, with, of course, artprice.com in first place.

Artmarket.com .net .org are therefore the primary Internet keys to the global Art Market.

Our domain name artmarket.com represents a unique intangible asset and could be worth around 120 million dollars according to the press release below.

https://www.actusnews.com/fr/ARTPRICE/cp/2019/07/25/addendum-artmarket_com-l_actif-incorporel-unique-du-nom-de-domaine-artmarket_com-pourrait-etre-estime-autour-de-120-millions-de

Moreover, for all matters related to the commercial aspects of art, the term “Art Market” is the term universally used since the post-war period by all the artistic, economic and financial publications including The Wall Street Journal, The Financial Times, The New York Times, Bloomberg, Reuters, The Art Newspaper, The Guardian, the BBC, CNN, Euronews, AFP, Yahoo! Finance, Cision (PR Newswire), etc…

“Artmarket.com” opens the doors of a future that can only be 100% digital now that the Art Market has already massively migrated into the mobile Internet sector (4.5 billion smartphones in circulation and 5G already operational in certain countries). Artmarket.com is a perfect reflection of this digital electroshock, both scientifically and economically, and it has acquired its lead in this market thanks to years of R&D.

The generic and universal name Artmarket.com will act as a powerful vector for a change in economic scope, for capital transactions and possibly an IPO on another stock exchange (without any capital increase).

thierry Ehrmann: “More than anything else, this highly significant change of our business name reflects a new beginning in our unique history. It marks our desire to become a truly global player in the Art Market, with a multitude of projects underway. It would have been very presumptuous of us to have declared such ambitions when we began our journey in 1997.

I wish to thank all our staff for their hard work and perseverance and our shareholders for their trust over the years… and I believe we can now all look forward to participating in the culmination of our project as a global player in the Art Market, reflected in our new name, Artmarket.com.”

Of course, this name change will have no impact on our customers whose access to our services and our data remains completely unchanged.

Against the backdrop of Sotheby’s spectacular delisting, Artprice’s change of name and the extension of its statutes is a perfectly logical move since Artmarket.com now has confirmation of a minimum three years of orders after acquiring the famous Swiss tech firm Xylogic which owned the portfolio of major auction operators.

For Artprice becoming Artmarket.com, the EGM-approved acquisition of Sotheby’s and its delisting represents confirmation of its role as a global player in the Art Market. Artmarket.com will now support – via its on-line tech solutions – the dematerialization of the 6300 Auction Houses around the world… companies who are already Artprice partners and are already connected to our Artmarket.com Intranet.

thierry Ehrmann: “Patrick Drahi’s acquisition of Sotheby’s with a 61% premium confirms the Art Market’s accession to the 21st century digital era. Artprice has always argued that the Art Market – which weighs about $90 billion p.a. (public and private) – is several decades behind other sectors with respect to digital and Internet culture…

https://www.actusnews.com/fr/ARTPRICE/cp/2019/06/17/artprice-new-york-thierry-ehrmann-patrick-drahi_s-acquisition-of-sotheby_s-confirms-the-art-market_s-entry-into-the-digital-era

…Drahi’s move represents a significant financial and economic shockwave because after Sotheby’s withdrawal from public scrutiny, Artmarket will be the only Art Market company listed on a regulated stock market in the entire world”.

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

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/

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

Catégories :2019, Art Market, Artprice, thierry ehrmann Étiquettes : #PRC, $PRC, art market, artmarket, artmarket.com, artprice, artprice.com, prc

Artprice.com va s’appeler Artmarket.com pour être l’acteur global du Marché de l’Art à son AGE du 30 septembre 2019

2019/09/09 tehrmann Commentaires fermés

Artprice.com change de dénomination sociale en artmarket.com avec modification statutaire et extension de l’objet social à son AGE du 30 septembre 2019. thierry Ehrmann, Président et Fondateur d’Artprice : « Cette AGE du 30.09.2019 s’apparente bel et bien à une IPO. En effet Artmarket.com va permettre d’embraser le Marché de l’Art dans sa totalité. »

En effet, le 8 août 2019 s’est tenu le Conseil d’Administration d’Artprice validant le rétro planning conduisant à l’AGE le 30 Septembre 2019 à 17h pour l’approbation définitive de la stratégie globale Art Market.

Après validation et concernant la future cotation boursière sur Euronext, les actionnaires d’Artprice.com deviendront automatiquement actionnaires d’Artmarket.com sans aucun impact sur le nombre de titres détenus et leurs droits attachés. De même le code mnémonique PRC est conservé pour ne pas perturber nos actionnaires, le marché et les banques.

A ce titre, la marque Artprice mondialement connue depuis plus de 20 ans demeure la marque de référence pour Artmarket.com concernant le très rentable département des banques de données sur les prix et les indices de l’art.

Une des principales extensions logiques face à l’état de la science est de d’étendre l’objet social à l’analyse et le traitement de métadonnées sur le Marché de l’Art pour son compte ou le compte de tiers.

thierry Ehrmann : « Artprice a fêté récemment ses 20 ans. Ce temps était nécessaire pour faire d’Artprice le Leader Mondial de l’Information sur le Marché de l’Art, tel que décrit dans le prospectus d’IPO de 1999. »

20 ans après, de manière unanime, les agences de presse, la presse écrite et audio-visuelle, les acteurs économiques et financiers, les acteurs du Marché de l’Art et les institutionnels, reconnaissent Artprice de manière incontestable comme Leader Mondial de l’Information sur le Marché de l’Art.

L’Histoire n’est pas terminée, bien au contraire. Artprice va devenir Artmarket.com pour conquérir la place d’acteur global dans une décennie où le monde par l’aboutissement de la révolution numérique, va vivre un changement radical de paradigme.

Ce changement de nom historique va permettre d’englober définitivement le Marché de l’Art dans son ensemble et ne plus se cantonner au seul secteur des « prix de l’Art » qui est un sous-ensemble du Marché de l’Art.

C’est la même démarche entreprise avec succès par Google qui est devenu Alphabet pour ne pas être réduit au seul secteur des moteurs de recherches.

thierry Ehrmann : « Artmarket.com va propulser notre savoir-faire, notre contenu et nos marques comme jamais une entité opérant sur le Marché de l’Art ne pourra le faire, grâce notamment à l’indexation naturelle sur les moteurs de recherches mondiaux de tout contenu relatif au Marché de l’Art, dont la traduction est Art Market en langue anglaise qui est la langue propre au Marché de l’Art dans tous les pays. »

« C’est un choc boursier et économique majeur car Artprice bientôt Artmarket, après l’OPR de Sotheby’s, reste la seule société du Marché de l’Art à être cotée sur un marché règlementé dans le monde.»

Artprice a pu acquérir en son temps les DNS les plus prestigieux et puissants que sont artmarket.com .net et .org qui absorbent le plus légalement des millions de requêtes/mois sur la demande générique « Art Market » sur Google.com.

Artmarket.com est n°1 sur 4,3 milliards de résultats sur la requête Art Market sur google.com (Constat d’huissier SCP Pons-Mergui). A titre de comparaison, la requête Artprice sur Google.com aboutit à 2,5 millions de résultats, avec bien sûr en n°1 artprice.com.

Artmarket.com .net .org sont donc l’atout maître sur Internet pour capter le Marché de l’Art Mondial.

L’actif incorporel unique du nom de domaine artmarket.com pourrait être estimé autour de 120 millions de dollars (méthodologie et analyse) voir le communiqué à consulter ci-dessous.

https://www.actusnews.com/fr/ARTPRICE/cp/2019/07/25/addendum-artmarket_com-l_actif-incorporel-unique-du-nom-de-domaine-artmarket_com-pourrait-etre-estime-autour-de-120-millions-de

De plus, Art Market est le titre universel depuis l’après-guerre que reprennent à 100% tous les journaux économiques financiers et artistiques pour parler du Marché de l’Art comme le Wall Street Journal, Financial Times, The New York Times, Bloomberg, Reuters, The Art Newspaper, The Guardian, BBC, CNN, Euronews, AFP, Yahoo! Finance, Cision (PR Newswire), etc…

Artmarket.com ouvre en grand les portes du futur, qui ne peut être que 100% numérique au moment de la concentration du secteur économique du Marché de l’Art avec l’Internet mobile (4,5 milliards de smartphones et la 5G déjà opérationnelle). Cet électrochoc numérique se traduit économiquement et scientifiquement par Artmarket.com avec une avance considérable grâce à sa R&D.

Artprice, labellisée par le BPI pour la deuxième fois en novembre 2018, développe son projet de Blockchain sur le Marché de l’Art où Artmarket aura toute capacité par l’extension de ses statuts à la commercialiser.

Ce nom générique et universel Artmarket.com agira puissamment comme vecteur de changement de périmètre économique, d’opérations capitalistiques et de toute IPO sur d’autres places boursières, en excluant toute augmentation de capital.

thierry Ehrmann : « Ce changement de dénomination sociale hautement significatif incarne plus que tout, le nouveau départ de notre Histoire unique en son genre. Cela marque notre volonté d’être désormais un acteur global du Marché de l’Art, avec de nombreux projets, ce qui aurait été très présomptueux de notre part au début de notre parcours en 1997. »

« Je remercie nos collaborateurs pour leur travail et leur persévérance et nos actionnaires pour leur confiance au cours de ces années. Mon souhait est que chacun puisse désormais participer pleinement à l’aboutissement de notre projet d’acteur global du Marché de l’Art qui se symbolise par notre nouvelle dénomination sociale Artmarket.com ».

Ce changement de dénomination sociale n’impacte pas bien évidemment nos clients avec un accès inchangé à nos services et nos données.

L’événement clé de l’année 2019 de l’OPR spectaculaire de Sotheby’s est la confirmation d’un carnet de commandes sur 3 ans minimum pour Artmarket.com, qui a absorbé la célèbre SSII Xylogic Suisse détenant le portefeuille des grandes Maisons de Ventes, d’où la cohérence du changement de dénomination sociale et de l’extension des statuts.

Cette OPR validée brillamment jeudi dernier par l’AGE de Sotheby’s est la confirmation pour Artprice qui devient Artmarket.com dans son rôle d’acteur global du Marché de l’Art. En effet le Groupe va accompagner par ses solutions informatiques on line la dématérialisation des 6300 Maisons de Ventes dans le monde partenaires d’Artprice qui sont déjà connectées à l’Intranet d’Artmarket.com.

thierry Ehrmann : « Le rachat de Sotheby’s avec une prime de 61 % 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 ».

https://www.actusnews.com/fr/ARTPRICE/cp/2019/06/17/artprice-new-york-nbsp-thierry-ehrmann-nbsp-nbsp-le-rachat-de-sotheby_s-par-patrick-drahi-valide-l_entree-du-marche-de-l_art

Au sujet d’Artron :

Partenaires depuis 2009, Artron et Artprice ont signé en octobre 2018 un accord historique pour créer une « nouvelle route de la soie de l’art », cette alliance s’inscrivant dans le plan « One Belt One Road » (OBOR) / « Belt and Road Initiative » (BRI), lancé en 2013 et connu en Europe sous le nom de « Nouvelle Route de la Soie ».

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.

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 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 :

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Catégories :2019, Art Market, Artprice, Global Lite, thierry ehrmann Étiquettes : #PRC, $PRC, art market, artmarket, artprice, Thierry Ehrmann

Artprice by Art Market: Top 10 auction gains in H1 2019

2019/09/02 tehrmann Commentaires fermés

The resale of artworks illustrates the financial potential of Art, a potential that depends on numerous factors including the artists’ notoriety, the intrinsic qualities of the works and, of course, the intensity of demand over time. While the average return on art investments is approximately 4.6% p.a. for an average duration of 13 years, certain works obviously generate much better returns, especially in the Contemporary Art segment.

For thierry Ehrmann, Founder/CEO of Artprice: “the most profitable artists on the Art Market are no longer the great Moderns, as in the last century. Major buyers have transferred their investments onto the most recognised Contemporary artists – onto the great “classics” of our era – artists like Jean-Michel Basquiat and Yayoi Kusama who now represent a sort of holy grail for any museum or any major collector and who are enjoying ever-growing and ever more international demand. The Contemporary Art Market offers opportunities for capital gains that were unimaginable 20 years ago.”

Contemporary Art Generates the Best Returns

Contemporary creation is today more profitable than Post-War art. There is only one Western Post-War artist among the top 10 gains hammered during the first six months of 2019: Alexander Calder, with a rare mobile sculpture (Fish), the price of which has risen from less than $200,000 to more than $17.5 million since the end of the 1980s. Contemporary artists are clearly dominant in the rankings. They account for seven of the ten best gains hammered during the period and concern works by Jean-Michel Basquiat, Daniel Buren, Yayoi Kusama, Pierre Soulages and Christopher Wool. Contemporary Art (the overall price index of which rose 40% in H1 2019) is the most profitable segment of the Art Market. The prices of certain works have been multiplied in range from 30 to more than 300 times versus their previous auction values.

Long holding

The volatility of the Contemporary Art market makes it particularly favourable for certain types of investment. It allows quick gains (with holding times of three to ten years) on some highly popular signatures such as Kaws, George Condo and Sean Scully. Of course, rapid turnarounds on art are not risk-free, particularly on the younger signatures and it is probably wiser to gamble on artists whose work and whose secondary market are both mature.

Moreover, the most profitable resales require a lot of patience with the best gains coming from long-term holding periods. The most spectacular price increases concerned works sold publicly in the 1980s and 1990s and which are now returning to auction. Eight of the ten best gains in our ranking concern works that began to be sold publicly more than 20 years ago.

The biggest price increase concerns a work by Jean-Michel Basquiat, Apex, which had not been auctioned for 31 years (it changed owner three times during that time, but privately). Apex is a major work, first appearing at auction in June 1988, two months before the artist’s death. Regarded as one of his best paintings, it fetched $29,400 in 1988, joining the artist’s top 10 results. The posthumous growth of his prices had not started yet. It was only three years after Basquiat’s death that one of his works crossed the $100,000 threshold for the first time, blithely tripling its high estimate (Red rabbit, 1982, on 11 November 1988 at Sotheby’s). When it was offered to the public last March, Apex fetched $10.8 million, posting an exceptional gain of +36,685% in 31 years.

Remember that Jean-Michel Basquiat is the first and only Contemporary artist whose work has crossed the $100 million threshold on the auction market (Untitled, 1982, on 18 May 2017 at Sotheby’s New York). This pillar of the Contemporary Art Market – whose overall price index has risen +1,608% since 2000 – accounts for three of the top ten most profitable resales since the beginning of the year.

Jean-Michel Basquiat
©thierry Ehrmann – courtesy of Organ Museum / Abode of Chaos

[https://imgpublic.artprice.com/img/wp/sites/11/2019/09/jean-michel-basquiat-en.png]

Top 10 auction gains in H1 2019

1. Jean-Michel Basquiat: Apex (1986) +36,685% in 31 years
$10,815,000 on 5 March 2019 – Sotheby’s London
$29,400 on 30 June 1988 – Christie’s London

2. Daniel Buren: Peinture acrylique blanche (1968) +10,111% in 22 years

$357,400 on 8 March 2019 – Phillips London

$3,500 on 26 February 1997 – Libert-Castor Paris

3. Alexander Calder: Fish (1952) +8,752% in 32 years

$17,527,000 on 15 May 2019 – Christie’s New York

$198,000 on 4 November 1987 – Sotheby’s New York

4. Fengmian Lin: Wisteria +7,182% in 27 years

$1,321,700 on 2 April 2019 – Sotheby’s Hong Kong

$18,150 on 1 June 1992 – Sotheby’s New York

5. Yayoi Kusama: Midsummer (1983) +5,840% in 19 years

$427,700 on 6 March 2019 – Sotheby’s London

$7,200 on 30 June 2000 – Sotheby’s London

6. Fei’an Yu: Parrot (1945) +5,600% in 29 years

$786,600 on 2 April 2019 – Sotheby’s Hong Kong

$13,800 on 15 November 1990 – Sotheby’s Hong Kong

7. Jean-Michel Basquiat: Untitled (1987) +4,617% in 26 years

$1,321,000 on 5 March 2019 – Sotheby’s London

$28,000 on 25 March 1993 – Christie’s London

8. Pierre Soulages: Painting 130 x 89 cm, 2 March 1961 +3,402% in 32 years

$3,046,900 on 5 June 2019 – Sotheby’s Paris

$87,000 on 2 July 1987 – Sotheby’s London

9. Christopher Wool: Untitled (1986) +3,324% in 21 years

$630,000 on 27 June 2019 – Phillips London

$18,400 on 13 November 1998 – Christie’s New York

10. Jean-Michel Basquiat: Soothsayer (1983) +2,924% in 17 years

$998,000 on 5 March 2019 – Sotheby’s London

$33,000 on 28 June 2002 – Christie’s London

Two living French artists among the most profitable

Two French artists still active today, Pierre Soulages and Daniel Buren, stand out thanks to the opening of the International Market. They are among the very rare Contemporary French artists who have managed to build a reputation and a price structure outside France, especially in New York from where both have hammered their personal records ($10.6 million obtained for Soulages in November 2018 at Christie’s and $2.1 million for Buren last May at the same auctioneer). Soulages’ abstract style and Buren’s minimalist style correspond to two trends that are both currently highly sought–after on the American art market.

The value added to Daniel Buren’s Peinture acrylique blanche sur tissu rayé blanc rouge (1968) is particularly noteworthy. The price of this work has multiplied 102 times in 22 years – the time it took for demand to consolidate abroad. Until recently, most of Buren’s high-quality works sold badly in the Big Apple… when they were not bought in.

In addition, Peinture acrylique blanche sur tissu rayé blanc rouge was auctioned at the right time, while Daniel Buren was installing a monumental work on the High Line in New York. The artist has signed the Big Apple by floating thousands of flags over New Yorkers, flags bearing the 8.7-cm-wide colored stripes that are so characteristic of his work (exhibition En Plein Air visible until March 2020). An ideal piece of artistic ‘news’ to convince New Yorkers to buy the French veteran of Minimalism.

As with the stock markets, investments in art require a permanent follow-up from collectors of the news concerning the artists in the portfolios. The construction, maintenance and inflation of an artist’s prices depends primarily, as with equity markets, on information. It is information which allows us to select the most opportune moment for a resale and the best-suited marketplace to ensure the best possible added value.

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).

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

Artprice’s Contemporary Art Market Annual Report for 2018 – free access at:
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Catégories :2019, Art Market, Artprice, Global Lite, thierry ehrmann Étiquettes : #PRC, $PRC, art market, artmarket, artprice, Basquiat, Jean-Michel Basquiat, Thierry Ehrmann, Top 10 auction gains in H1 2019

Artprice by Art Market: les 10 meilleures plus-values au S1 2019 face aux taux négatifs ou voisins de zéro

2019/09/02 tehrmann Commentaires fermés

Les cas de reventes aux enchères démontrent le potentiel financier de l’Art en fonction de la notoriété des artistes, des qualités intrinsèques des œuvres et bien sûr, d’une demande variable au cours du temps. Si le rendement annuel moyen de l’Art atteint +4,6%, pour une durée moyenne de 13 ans, certaines œuvres constituent des investissements beaucoup plus compétitifs, notamment sur le segment contemporain.

Pour thierry Ehrmann, Président et Fondateur d’Artprice: « les artistes les plus rentables du Marché ne sont plus les grands modernes comme au siècle dernier. Les grands acheteurs ont reporté leurs investissements sur les contemporains les mieux établis, sur les grands « classiques » de notre époque. Des artistes aussi fondamentaux que Jean-Michel Basquiat ou Yayoi Kusama, qui constituent un graal pour tout musée et pour tout grand collectionneur, font face à une demande de plus en plus forte et internationale. Cette création contemporaine est propice aux meilleurs investissements. Elle offre des possibilités de plus-values encore inimaginables il y a 20 ans.«

L’Art Contemporain génère les meilleures plus-values

La création contemporaine surpasse aujourd’hui les qualités financières de l’Art d’Après-Guerre. Seul un artiste occidental de la période d’Après-Guerre se retrouve dans le top 10 des plus-values enregistrées au S1 2019: Alexander Calder, avec une rare sculpture mobile (Fish), dont le prix est passé de moins de 200.000$ à plus de 17,5m$ depuis la fin des années 80. Les artistes contemporains sont nettement prédominants dans le classement. C’est à eux que l’on doit sept des dix meilleurs cas de reventes obtenus sur le premier semestre 2019, avec des œuvres de Jean-Michel Basquiat, Daniel Buren, Yayoi Kusama, Pierre Soulages et Christopher Wool. L’Art Contemporain (dont l’indice des prix est en hausse de +40% sur le S1 2019) est le segment le plus rentable du Marché de l’Art. Le prix de certaines œuvres a été multiplié par 30, 35, voire par plus de 300 entre deux passages aux enchères.

La détention longue

La volatilité du Marché de l’Art Contemporain est particulièrement propice aux investissements. Elle permet des gains rapides (sur des durées de détention de trois à dix ans) pour certaines signatures très en vogue comme Kaws, George Condo ou Sean Scully. Bien sûr, ces allers-retours rapides aux enchères ne sont pas sans prise de risque concernant les plus jeunes signatures, et il est préférable de miser sur des artistes dont l’œuvre et le second Marché sont tous deux arrivés à maturité.

Les reventes les plus fructueuses sont d’ailleurs affaire de patience et les plus belles prises de valeur se traduisent sur le long terme. Les progressions de prix les plus spectaculaires concernent en effet des œuvres passées en ventes publiques dans les années 80 et 90, et qui repassent à présent en salles. Huit des dix plus-values les plus remarquables de l’année récompensent ainsi des œuvres qui ont commencé à se vendre aux enchères il y a plus de 20 ans.

L’inflation de prix le plus exceptionnel concerne une œuvre Jean-Michel Basquiat, Apex, qui n’avait pas été revue aux enchères pendant 31 ans (elle a changé trois fois de propriétaire entre temps mais en restant dans le circuit privé). Apex est une œuvre majeure, apparue pour la première fois aux enchères en juin 1988, soit deux mois avant la mort de l’artiste. Considérée comme l’une de ses meilleures toiles, elle partait, en 1988, pour 29.400$, intégrant à l’époque le top 10 des meilleures adjudications de l’artiste. La croissance post-mortem des prix n’avait pas encore commencé. Ce n’est que trois ans après la mort de Basquiat que l’une de ses œuvres passait pour la première fois les 100.000$, en triplant allègrement son estimation haute (Red rabbit, 1982, le 11 novembre 1988 chez Sotheby’s). Lors de son dernier passage sous le feu des enchères en mars dernier, Apex s’est arrachée pour 10,8m$, affichant une plus-value exceptionnelle de +36.685% en 31 ans.

Rappelons que Jean-Michel Basquiat est le premier et l’unique artiste contemporain dont une oeuvre a dépassé les 100m$ aux enchères (Untitled, 1982, le 18 mai 2017 chez Sotheby’s New York). Ce pilier du Marché de l’Art Contemporain – dont l’indice général des prix a progressé de +1.608% depuis 2000 – revient à trois reprises parmi les dix cas de reventes les plus fructueux depuis le début de l’année.

Jean-Michel Basquiat
©thierry Ehrmann – courtesy of Organ Museum / Demeure du Chaos

[https://imgpublic.artprice.com/img/wp/sites/11/2019/09/jean-michel-basquiat-fr.png]

Top 10 des plus-values au S1 2019

1. Jean-Michel Basquiat: Apex (1986), +36.685% en 31 ans
10.815.000$ le 5 mars 2019 – Sotheby’s Londres
29.400$ le 30 juin 1988 – Christie’s Londres

2. Daniel Buren: Peinture acrylique blanche (1968), +10.111% en 22 ans

357.400$ le 8 mars 2019 – Phillips Londres

3.500$ le 26 février 1997 – Libert-Castor Paris

3. Alexander Calder: Fish (1952), +8.752% en 32 ans

17.527.000$ le 15 mai 2019 – Christie’s New York

198.000$ le 4 novembre 1987 – Sotheby’s New York

4. Fengmian Lin: Wisteria, +7.182% en 27 ans

1.321.700$ le 2 avril 2019 – Sotheby’s Hong Kong

18.150$ le 1er juin 1992 – Sotheby’s New York

5. Yayoi Kusama: Midsummer (1983), +5.840% en 19 ans

427.700$ le 6 mars 2019 – Sotheby’s Londres

7.200$ le 30 juin 2000 – Sotheby’s Londres

6. Fei’an Yu: Parrot (1945), +5.600% en 29 ans

786.600$ le 2 avril 2019 – Sotheby’s Hong Kong

13.800$ le 15 novembre 1990 – Sotheby’s Hong Kong

7. Jean-Michel Basquiat: Untitled (1987), +4.617% en 26 ans

1.321.000$ le 5 mars 2019 – Sotheby’s Londres

28.000$ le 25 mars 1993 – Christie’s Londres

8. Pierre Soulages: Peinture 130 x 89 cm, 2 mars 1961, +3.402% en 32 ans

3.046.900$ le 5 juin 2019 – Sotheby’s Paris

87.000$ le 2 juillet 1987 – Sotheby’s Londres

9. Christopher Wool: Untitled (1986), +3.324% en 21 ans

630.000$ le 27 juin 2019 – Phillips Londres

18.400$ le 13 novembre 1998 – Christie’s New York

10. Jean-Michel Basquiat: Soothsayer (1983), +2.924% en 17 ans

998.000$ le 5 mars 2019 – Sotheby’s Londres

33.000$ le 28 juin 2002 – Christie’s Londres

Deux artistes français vivants parmi les plus rentables

Deux artistes français encore en activité, Pierre Soulages et Daniel Buren, se démarquent grâce à l’ouverture du Marché international. Ils comptent parmi les rares artistes contemporains français parvenus à se faire un nom et une cote en dehors de l’Hexagone, notamment à New York d’où ils tirent, chacun, leur record personnel (10,6m$ obtenus pour Soulages en novembre 2018 chez Christie’s et 2,1m$ pour Buren en mai dernier chez la même maison de ventes). Le style abstrait de Soulages et celui, minimaliste, de Buren correspondent à deux tendances actuellement fortement recherchées sur le Marché de l’Art américain.

La plus-value emportée par Peinture acrylique blanche sur tissu rayé blanc rouge (1968) de Daniel Buren est particulièrement remarquable. Le prix de cette œuvre a été multiplié par 102 en 22 ans, autant d’années nécessaires pour que la demande se consolide à l’étranger. La plupart des œuvres de qualité de Buren se vendaient mal jusque là à New York, lorsqu’elles n’étaient pas tout simplement ravalées.

Par ailleurs, la Peinture acrylique blanche sur tissu rayé blanc rouge est passée aux enchères au bon moment, alors que Daniel Buren installait une oeuvre monumentale sur la High Line de New York. L’artiste a signé la Grosse Pomme, en faisant flotter au-dessus des New-yorkais des milliers de drapeaux portant ces rayures colorées de 8,7 cm qui lui sont si caractéristiques (exposition En Plein air visible jusqu’en mars 2020). Une actualité idéale pour convaincre les New-yorkais d’acheter le vétéran français du Minimalisme.

Comme pour les marchés d’actions, l’Art demande un suivi permanent de la part du collectionneur concernant l’actualité des artistes. La construction d’une cote repose avant tout, comme pour les marchés d’actions, sur l’information. C’est elle qui permet de saisir le moment le plus opportun pour une revente et la place de marché la mieux adaptée à la réalisation de la meilleure plus-value possible.

Au sujet d’Artron :

A propos d’Artprice :

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

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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 :

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Catégories :2019, Artprice, Global Lite, thierry ehrmann Étiquettes : #PRC, $PRC, art market, artprice, Basquiat, Jean-Michel Basquiat, plues values, taux négatifs, taux zéro, Thierry Ehrmann, tuax zéro, voisins de zéro

(Addendum Artmarket.com) L’actif incorporel unique du nom de domaine artmarket.com pourrait être estimé autour de 120 millions de dollars

2019/07/25 tehrmann Commentaires fermés

thierry Ehrmann : « Comme nous l’avons précédemment publié en information réglementée, Artmarket.com est n°1 sur 3,6 milliards de résultats pour la requête « Art Market » sur Google.com (Constat d’huissier SCP Pons-Mergui). (https://www.actusnews.com/fr/ARTPRICE/cp/2019/07/09/artprice_com-va-s_appeler-artmarket_com-pour-devenir-un-acteur-global-du-marche-de-l_art)

La traduction de « Marché de l’Art » est « Art Market » en langue anglaise qui est la langue propre au Marché de l’Art dans tous les pays. Le DNS artmarket.com est incontournable et il absorbe le plus légalement, les millions de requêtes entrantes par mois sur la demande générique « Art Market » sur Google.com. Nous possédons aussi les DNS artmarket.net, .org, .eu (.eu domaine de premier niveau générique pour désigner l’Europe) mais également art-market.com, art-market.net et art-market.org et bien entendu artmarket.art. »

Le second marché des noms de domaine (DNS) est en pleine expansion depuis plus de 25 ans. Rien d’étonnant à cela, car c’est par le DNS qu’on accède à un secteur économique tout entier. C’est notre cas avec le DNS Artmarket.com, dans l’économie désormais numérique du Marché de l’Art. Les acteurs de l’économie traditionnelle ont bien compris, au fur et à mesure de l’expansion de l’économie numérique qui compte 4,5 milliards de consommateurs en ligne, la prépondérance et le caractère essentiel que revêt le nom de domaine dans la captation des flux mondiaux liés à l’appellation d’un secteur économique. Le Marché de l’Art est proche de 90 milliards de dollars par an.

Voici, à titre de comparaison, deux exemples significatifs de prix de vente de noms de domaine génériques (1):

– business.com a été vendu 345 millions de dollars. Après une âpre bataille entre le New York Times et le Dow Jones, surprise, c’est finalement RH Donnelly une des 500 plus grandes fortunes du Monde qui a remporté la mise.

– lasvegas.com est parti à 90 millions de dollars. A noter que l’acheteur est le même propriétaire que vegas.com.

Chacun sait désormais que la recherche effectuée par les 4,5 milliards d’internautes sur les moteurs de recherche se caractérise par la requête du nom générique qui définit la cible exacte de leurs recherches.

C’est le cas pour entre autres business.com, lasvegas.com, aluminium.com (Alcoa), scotch.com (Diageo) et donc artmarket.com, avec un taux de satisfaction proche de 100%.

En effet, les algorithmes des grands moteurs de recherche comme Google ont inclus en pertinence de niveau 1 le fait stratégique que les grands acteurs de l’ancienne économie ont systématiquement acheté les génériques décrivant leur cœur de métier et leur permettant ainsi de combler leur handicap pour rester Leaders mondiaux de leur secteur dans l’économie numérique qui est devenue l’économie du 21ème siècle.

Il existe une multitude d’exemples frappants qui démontrent la pertinence indéniable de la détention des noms de domaine génériques en .com. Les plus grands groupes de la planète ont éprouvé le besoin d’acquérir des DNS génériques pour capter les recherches des 4,5 milliards d’internautes (2).

A noter que le .com est devenu la référence absolue dans l’économique numérique, avec une hégémonie captant plus de 80% des requêtes mondiales.

Alcoa, géant de l’aluminium, est propriétaire du DNS aluminium.com

Avis Budget, location de véhicules, détient autorental.com, rentalcar.com

Diageo, n°1 mondial sur le marché des alcools et spiritueux, possède malts.com, rum.com, scotch.com

Disney détient family.com, go.com, kid.com, video.com

Citibank détient Finance.com, Mortgage.com

Xerox détient ColorPrinters.com, Documents.com

Winchester détient Ammunition.com

Weather Channel détient Weather.com

Viacom International Inc. détient Film.com

Nestle détient Meals.com

Procter and Gamble détient DentalCare.com, Laundry.com, Nails.com,

Knorr détient Soup.com

Lexis Nexis détient Lawyers.com

JP Morgan Chase détient BestMarkets.com

Health Magazine/Time Inc. détient Health.com

CNN/Time Inc. détient Money.com

Barnes and Noble détient Book.com, Books.com

La liste des DNS génériques que possède GlaxoSmithKline, l’un des dix géants de l’industrie pharmaceutique mondiale, est impressionnante et significative des enjeux liés aux noms de domaine génériques : asthma.com, asthmaControl.com, bipolar.com, coldSore.com, depression.com, diabetes.com, heartburn.com, heartHealth.com, helix.com, osteoporosis.com, reflux.com, restlessLegs.com, skinInfection.com, sleeplessness.com, toothBrush.com

Getty Images, célèbre agence de photographie et banque d’images américaine, est propriétaire de photos.com

« Imaginons également un seul instant le trésor de guerre que serait pour Christie’s, Sotheby’s récemment acheté par P. Drahi, (entrepreneur possédant des sociétés de télécom et des Networks à travers le monde), Phillips ou encore Artron, China Guardian, Poly Auction Intl., que de posséder le nom de domaine artmarket.com ou d’être licencié du nom de domaine générique artmarket.com.

Nul doute que l’acquéreur ou le licencié prendrait immédiatement l’avantage sur les autres acteurs du Marché de l’Art de manière définitive sur un marché estimé de près de 90 milliards de dollars par an. »

Nous estimons donc, étant donné les enjeux du Marché de l’Art dans le monde, tant au niveau des flux financiers générés que de la notoriété du DNS Artmarket.com, que la valorisation du nom de domaine artmarket.com, avec la méthode des comparables, s’établirait raisonnablement autour de 120 millions de dollars, soit 100 millions d’euros environ.

Ce communiqué doit être considéré comme purement indicatif et ne constitue pas à ce jour un élément juridique ou comptable pour le groupe Artprice.

Cependant, dans le cadre de la transparence et de l’équité de l’information et compte tenu des nouvelles stratégies d’Artprice dans le cadre de l’AGE qui devrait entériner le changement de dénomination sociale ainsi que les modifications statutaires, Artprice produira un projet d’estimation construit à partir d’un marché liquide et efficient, existant depuis près de 20 ans avec une construction économique fiable et pérenne du prix des noms de domaine génériques par des acteurs notoirement et nommément connus.

Ce marché des noms de domaine génériques est parfaitement apte à être appréhendé par la méthode des comparables, dans le cadre d’une expertise ou d’une analyse indépendante qui serait parfaitement appropriée pour déterminer la valeur marchande aux conditions de l’offre et de la demande du marché mondial des DNS à caractère générique.

Il est donc dans l’ordre du possible qu’Artprice puisse, avec le DNS artmarket.com, céder, amener comme actif incorporel notamment dans le projet d’une IPO, ou licencier un tiers, sur la base d’une valeur proche de 120 millions de dollars.

Artprice avertit son actionnariat et le marché que son analyse est basée entre autres sur les normes IFRS, notamment l’IAS38.

Dans le cadre des nouvelles stratégies développées par le groupe, le DNS artmarket.com devra être considéré comme un actif immatériel identifiable et pouvant être détaché, générateur d’avantages économiques futurs, se comportant comme un actif de façon fiable qui n’est pas limité par un cycle industriel et possédant une juste valeur de son actif au regard d’un marché efficient, liquide et structuré.

Enfin, une somme d’informations conséquentes est d’ores et déjà disponible dans le document de référence d’Artprice 2018 déposé le 25 Juin 2019 à l’AMF.

Artprice procède sur une longue période à une analyse méticuleuse des documents de référence, de l’information réglementée ainsi que les bilans des sociétés du S&P500, afin d’analyser le coût des acquisitions et leur traitement en tant qu’actifs incorporels. Il en ressort, en première lecture, une politique d’acquisition des DNS génériques à un coût très élevé mais parfaitement justifiée au regard des flux entrants spontanés des moteurs de recherches.

Le contexte actuel mondial, comme indiqué par Artprice ces derniers mois, avec notamment l’OPR de Sotheby’s par un acteur du numérique, oblige le Marché de l’Art à récupérer son retard pénalisant sur la culture du numérique et son lourd handicap vis-à-vis d’Internet.

Pour combler ces lacunes, la stratégie d’acquisition ou de concession de noms de domaine génériques décrivant l’activité du Marché de l’Art paraît la plus pertinente. En effet, le Marché de l’Art, pour sa remise à niveau, va devoir intégrer les technologies telles que la Blockchain, le Big Data, l’Internet mobile et notamment la 5G, l’IA qui, à ce jour, sont parfaitement maîtrisées par Artprice et sa R&D. (Voir le document de référence d’Artprice 2018 déposé le 25 Juin 2019 à l’AMF).

(1) https://blog.youdot.io/fr/les-25-domaines-les-plus-chers-de-tous-les-temps/

(2) https://www.domainsherpa.com/large-companies-that-own-generic-domain-names/

Au sujet d’Artron :

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, 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 4,5 millions d’abonnés

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

http://artmarketinsight.wordpress.com/

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

Catégories :2019, Art Market, Artprice, thierry ehrmann Étiquettes : art market, artmarket.com, artprice, artprice.com, christie's, DNS, DOW JONES, New York Times, Patrick Drahi, sotheby's, Thierry Ehrmann, Weather.com

The Guggenheim, the Louvre, the Pompidou Center and now ArtMarket all possess a “.art” generic top-level domain (gTLD) !

2019/07/21 tehrmann Commentaires fermés

thierry Ehrmann: “We are also very pleased to inform shareholders and investors that we now possess artmarket.art, which has already been deployed by our IT department. This acquisition involved several quarters of intense legal and administrative red tape with the ICANN (Internet Corporation for Assigned Names and Numbers) and the TMCH (TradeMark ClearingHouse).

This is the same strategy adopted by all of the world’s major art institutions, including the Guggenheim, the Louvre and the Pompidou Center, along with an impressive list of museums that have played a key role in art history.

Since our press release Artprice.com is changing its name to Artmarket.com to become a global player in the Art Market posted on July 9, 2019 (follow this link:https://www.actusnews.com/fr/ARTPRICE/cp/2019/07/09/artprice_com-is-changing-its-name-to-artmarket_com-to-become-a-global-player-in-the-art-market) our Investor Relations department has received numerous questions from shareholders and institutions regarding the domain names we possess and our marketing position vis-à-vis Artprice.

This brief statement is intended to answer these questions. To achieve the getting of this extension .art, Artprice had to comply with a battery of draconian ICANN tests, including the requirement of owning our brand (without which applications to the ICANN are rejected). The “Sunrise Period” of domain registration is now over, so no further surprises are expected.”

A generic top-level domain (gTLD) is a type of top-level domain (TLD) maintained by the Internet Assigned Numbers Authority (IANA) for use in the Internet’s domain name system.

A TLD is the extension at the end of a website address. In this case, “dot art” (.art) is a major asset for the key players in the art market. The ICANN, the organization that oversees Internet domain names, has developed draconian mechanisms to protect rights on new extensions and to preclude hacking risks.

However, this type of protection comes at a high price. In the digital economy, .art represents a powerful search-engine marketing tool to capture an even broader global audience. Concrete operational examples are louvre.art, guggemheim.art and centrepompidou.art.

thierry Ehrmann: “You don’t need an MBA to understand that this global network will inevitably contribute to our notoriety and the growth of our customer base.”

Very few groups like ours have a legal and IT department dedicated to the global watch of their brands and domain names. For our shareholders, this watch represents a guarantee and a very high level of legal security.”

thierry Ehrmann: “Artmarket.com is now the group’s flagship as we project our know-how, our content and our brands into the global market in a way no other entity operating on the Art Market can do. The new name will take full advantage of the natural indexing by global search engines of any content relating to the term “art market”.

Artprice.com shareholders will very shortly be invited to an EGM (within the legal deadlines) to approve this name change.

The Artprice brand – which has enjoyed global recognition for over 20 years – will remain the reference brand name for Artmarket.com in its highly profitable art prices /indices databanks activity.

After approval, shareholders of Artprice.com on Euronext will automatically become shareholders of Artmarket.com without any impact on the number of shares held or their attached rights.

English is the language most used by the art market all over the world.

Searches using the term “art market” on Google.com give Artmarket.com as the top result out of 3.6 billion results (Judicial Officer’s Report, SCP Pons-Mergui). By comparison, a search on Google.com using “Artprice” produces 2.5 million results, with, of course, artprice.com in first place.

To answer the questions we are currently receiving in all transparency, we acknowledge our legal possession of the domain names, artmarket.net, .org and .eu (.eu being the gTLD for Europe) as well as art-market.com, art-market.net and art-market.org which we acquired to preclude cybersquatting (the practice of registering a domain name corresponding to a trademark with the intention of subsequently reselling it to the trademark at a high price).

thierry Ehrmann: “Some new complementary and decisive information will be communicated in the Q2 release on the EGM (Extraordinary General Meeting) retroplanning which will endorse the change of artprice.com name to artmarket.com adding the new strategy artmarket.com to become a global player of the Art Market.”

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 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”.

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 4,5 million subscribers

http://artmarketinsight.wordpress.com/

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

Catégories :2019, Artprice, thierry ehrmann Étiquettes : art market, artmarket.art, artmarket.com, artprice.com, Thierry Ehrmann

Artprice: the digital revolution of the Art Market is now!

2019/07/11 tehrmann Commentaires fermés

The acquisition of Sotheby’s by the telecommunications and networks tycoon, Patrick Drahi, may be seen as the Art Market’s final acceptance of the digital era.

To view the Multimedia News Release, please click: https://www.multivu.com/players/uk/8571451-artprice-digital-revolution-art-market/

Artprice Price indexes of Art Market

[https://imgpublic.artprice.com/img/wp/sites/11/2019/07/artprice-price-indexes.jpeg]

To view the video “Decision Support Tools, Tutorial”, please click: https://www.multivu.com/players/uk/8571451-artprice-digital-revolution-art-market/embed_videos.html?video=21fcf0d3-7d4f-45e1-adb4-6832760f06ce

thierry Ehrmann, Artprice’s Founder and CEO, explains: “In 1998, François Pinault’s acquisition of Christie’s brought our industry into the ‘financial’ era. Twenty years later, its principal rival Sotheby’s is leading the ‘digital’ revolution. Fortunately, much of the groundwork has already been done: Artprice has long been a pioneering force in this colossal metamorphosis. Ten years ago, the famous art historian Raymonde Moulin said: “whether you like it or not, Artprice has irreversibly changed the structure of the Art Market that I have been studying for more than 50 years”.

There can be no doubt that the 61% premium offered to Sotheby’s shareholders reflects the immense economic potential of the Art Market, in which Sotheby’s is a key player. Patrick Drahi is not the only one to see this potential since, according to the New York Post, at least two other acquisition offers have already been made: one from Wall Street (initiated by Blackstone collector and CEO Stephen Schwarzman) and the other from Sotheby’s biggest shareholder, the Chinese company Taikang Asset Management.

The financialization of the Art Market has allowed the major transformation that we all know… with the arrival of new players, new strategies and new instruments. Sale guarantees, for example, have made it easier to secure the auction of masterpieces by reassuring sellers. These guaranteed minimum prices work a little like financial market derivatives: without taking the likeness too far, the guarantees may be compared with call options.

The next long-awaited step in the Art Market’s evolution is its dematerialization. In 2017, Sotheby’s eliminated buyer fees from its online sales … but five months later, it reintroduced them. Its financial performance was not strong enough to resist the pressure from shareholders who demanded better operating margins. The day after Sotheby’s announced its forthcoming delisting from the NYSE, the French version of The Art Newspaper ran the headline “Sotheby‘s regains its freedom… and its secrecy.”

In a context of negative or near-zero interest rates, the Art Market is more attractive than ever, with an average annual return +7% (Artprice100©).

Over the last two decades, the Art Market has gained enormously in efficiency. Admittedly, transaction costs are still high and numerous obstacles still hinder the free movement of artworks around the world; nevertheless, it has never been so fluid, or so global.

From the new record of $4 million recorded in Beijing for German artist Anselm Kiefer, to New York’s latest passion for Aboriginal art (with exhibitions at the Gagosian Gallery and MoMA PS1), the Art Market has liberated itself from geo-political borders.

Buyer preferences are obviously still subject to profound geographical influences, but the Art Market has no trouble taking them account. In 2015, Sotheby’s pulled the plug on its Middle East sales, preferring to hold an annual session dedicated to Middle-Eastern art in London. The operator knows that collectors from the Arabian Peninsula are perfectly happy to travel the 3250 miles that separates Doha from the British capital.

The Art Market is now ready for dematerialization… although compared to other economic segments it has a handicap of almost 30 years…

Nowadays, art amateurs, collectors, professionals and museums have access to lots of tools to help them manage their collections and their sales methods on the one hand, and to provide a global vision of the Art Market, at any time, on the other. Since 1987, Artprice has been a pioneer in this field and has developed – via the acquisition of the Swiss firm Xylogic (among others) – a complete set of decision-making tools that offer the best Art Market indicators available and reveal the latest trends in real-time. Crucially, they also allow the anticipation of price changes. Henceforth, the Art Market is now being analyzed and driven by Big Data, Data Mining, IE, AI and Blockchain. Artprice spends 80% of its expenses each year on R&D and has been awarded the Innovating Enterprise label by the French State’s innovation-supporting investment bank.

thierry Ehrmann again: “Our price indices – calculated using the infallible repeat sales method, epitomise the power of our data banks, providing a comprehensive, transparent and, above all, entirely objective coverage of public art sales art around the world”.

The arrival of Patrick Drahi at the helm of Sotheby’s undoubtedly marks the definitive transition of the Art Market to the digital era. Two statistics in particular illustrate the extraordinary growth of the Art Market: since the end of WWII the number of art consumers and collectors has grown from roughly half a million to approximately 90 million today. Likewise with the Museum Industry: more museums were built between 2000 and late 2014 than during the previous two centuries. This rhythm is continuing today with nearly 700 new museums a year – now on five continents – for the pleasure and cultural indulgence of art lovers all over the world.

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

About the Artron Group:

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/

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

Catégories :2019, Art Market, Artprice, thierry ehrmann Étiquettes : art market

Artprice : La révolution numérique du Marché de l’Art, c’est maintenant

2019/07/11 tehrmann Commentaires fermés

L’acquisition de Sotheby’s par le tycoon des télécommunications et networks, Patrick Drahi, sonne enfin l’entrée du Marché de l’Art dans l’ère du numérique.

Pour visualiser le communiqué multimédia, rendez-vous sur : https://www.multivu.com/players/fr/8571451-artprice-digital-revolution-art-market/

Artprice Price indexes of Art Market

[https://imgpublic.artprice.com/img/wp/sites/11/2019/07/artprice-price-indexes.jpeg]

Pour visualiser la vidéo : « Outils d’aide à la décision – tutoriel », rendez-vous sur :
https://www.multivu.com/players/fr/8571451-artprice-digital-revolution-art-market/embed_videos.html?video=00e900e1-6f59-4923-b680-d4c362c2d62c

thierry Ehrmann, Fondateur et Président d’Artprice, explique « En 1998, le rachat de Christie’s par François Pinault a fait entrer notre industrie dans l’ère de la finance. Vingt ans plus tard, c’est au tour de sa rivale Sotheby’s de mener la révolution numérique. Heureusement pour elle, le chantier est presque tout à fait terminé : Artprice a longuement œuvré en tant que pionnier à cette formidable métamorphose. Il y a dix ans déjà, la célèbre historienne d’art Raymonde Moulin affirmait : « que vous le vouliez ou non, Artprice a de manière irrémédiable modifié la structure du Marché de l’Art que j’étudie depuis plus de 50 ans ».

La prime d’achat de 61 % offerte aux actionnaires de Sotheby’s révèle bien une chose : l’immense potentiel économique du Marché de l’Art, dont Sotheby’s est un acteur incontournable. Un potentiel économique que Patrick Drahi n’est pas le seul à voir, puisque deux autres offres d’achat au moins auraient été déjà faites, révèle le New York Post. L’une en provenance de Wall Street (à l’initiative du collectionneur et PDG de Blackstone, Stephen Schwarzman), l’autre par le principal actionnaire de Sotheby’s, le chinois Taikang Asset Management.

La financiarisation du Marché de l’Art a permis la grande transformation que l’on connaît tous, avec l’arrivée de nouveaux acteurs, de nouvelles stratégies et de nouveaux instruments. Les garanties de ventes par exemple permettent de sécuriser l’adjudication de chefs-d’œuvre, et donc de rassurer les vendeurs. Ces prix minimums garantis ne sont pas sans rappeler à des produits dérivés sur les marchés financiers : les garanties pourraient donc – avec beaucoup de précautions – être comparées à des options d’achat.

L’étape suivante, tant attendue, est la dématérialisation du Marché de l’Art. En 2017, Sotheby’s a voulu faire décoller les ventes en ligne et a supprimé les frais acheteurs. Mais cinq mois plus tard, elle a fait machine arrière… Ses performances financières n’étaient pas assez solides pour faire face aux pressions des actionnaires qui réclamaient de meilleures marges opérationnelles. « Sotheby’s retrouve sa liberté… et le secret » a titré The Art Newspaper au lendemain de l’annonce de la sortie de la puissante maison de ventes du NYSE.

A l’heure des taux négatifs ou voisins de zéro, le Marché de l’Art est plus attractif que jamais avec +7 % de rendement annuel moyen (Artprice100©).

Le Marché de l’Art a immensément gagné en efficience au cours des deux dernières décennies. Les frais de transaction restent élevés certes, et de nombreux obstacles freinent encore les mouvements des œuvres à la surface de la terre, mais le Marché de l’Art n’a jamais été aussi liquide et jamais aussi global.

Du nouveau record à 4 m$ enregistré à Pékin pour l’artiste allemand Anselm Kiefer, au nouvel attrait du marché américain pour l’art aborigène (avec des expositions à la galerie Gagosian et au MoMA PS1), le Marché de l’Art s’affranchit des frontières géo-politiques.

Les préférences des acheteurs restent évidemment sujettes à de profondes influences géographiques, mais le Marché de l’Art s’en accommode parfaitement. Pour preuve, la maison de ventes Sotheby’s s’est retirée du Moyen-Orient en 2015, préférant organiser une session annuelle entièrement dédiée à l’art de cette région à Londres. Elle sait en effet que les collectionneurs de la péninsule arabique effectuent sans peine les quelques 4 000 km qui séparent Doha de la capitale anglaise.

Le Marché de l’Art est prêt à être dématérialisé, avec un handicap de près de 30 ans de retard, véritable anomalie en macro-économie.

Nombreux sont les outils mis à disposition des amateurs, collectionneurs, professionnels et institutionnels pour administrer leurs collections et leurs manières de vendre, et disposer d’une vision globale du Marché de l’Art à tout instant. Artprice, pionnier dans ce domaine, a développé depuis 1987 – en rachetant entre autres Xylogic Suisse – un ensemble complet d’outils d’aide à la décision qui rassemblent les meilleurs indicateurs du Marché de l’Art, révèles les dernières tendances et permettent d’anticiper les variations de prix. Ainsi, l’ensemble Big Data, Data Mining, IE, AI, Blockchain est désormais au service du Marché de l’Art. Artprice consacre chaque année 80 % de ses charges à la R&D et fait l’objet du label étatique d’Entreprise Innovante par le BPI.

thierry Ehrmann précise : « Nos indices de prix, calculés sur la base de la méthode infaillible des ventes répétées, symbolisent au mieux la puissance de nos banques de données : une couverture exhaustive, transparente et surtout entièrement objective des ventes publiques d’œuvres d’art à travers le monde ».

L’arrivée de Patrick Drahi à la tête de Sotheby’s scelle définitivement la transformation numérique du Marché de l’Art. L’essor extraordinaire du Marché de l’Art peut se comprendre avec ces deux chiffres, nous sommes passés des 500 000 collectionneurs de l’Après-Guerre à 90 millions d’art consummers aujourd’hui. De même, avec l’Industrie Muséale, il s’est construit plus de Musée entre 2000 et fin 2014 qu’entre le 19ème et 20ème siècle. Ce rythme continue pour le bonheur de tous les passionnés d’art, avec près de 700 nouveaux musées par an, désormais sur les cinq continents.

Au sujet d’Artron :

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, 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 4,5 millions d’abonnés

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

http://artmarketinsight.wordpress.com/

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

Catégories :2019, Art Market, Artprice, thierry ehrmann Étiquettes : art market, artmarket.com, marché de l'art

Artprice.com is changing its name to Artmarket.com to become a global player in the Art Market

2019/07/09 tehrmann Commentaires fermés

Artprice.com is changing its name to Artmarket.com to become a global player in the Art Market

thierry Ehrmann, CEO and founder of Artprice.com and Artmarket.com

[https://imgpublic.artprice.com/img/wp/sites/11/2019/07/thierry-ehrmann-artprice-artmarket-ceo.png]

This historic name change reflects an expansion of our role to all matters related to the Art Market rather than just to questions related to “art prices”, a subset of the Art Market.

This is the same approach successfully implemented by Google which has become Alphabet to avoid being associated uniquely with search engines.

As such, the Artprice brand – known worldwide for over 20 years – will remain the reference brandname for Artmarket.com in its highly profitable art prices /indices databanks activity.

“For Artprice – now Artmarket – this represents a very significant financial and economic step forward.”

“Artprice acquired the domain names artmarket.com .net and .org a long time ago and therefore holds a perfectly legal key to millions of searches per month via the generic term “Art Market” on Google.com, or any other search engine.

Artmarket.com .net .org are therefore the primary Internet keys to the global Art Market.

Moreover, for all matters related to the commercial aspects of art, the term “Art Market” is the term universally used since the post-war period by all the artistic, economic and financial publications including The Wall Street Journal, The Financial Times, The New York Times, Bloomberg, Reuters, The Art Newspaper, The Guardian, the BBC, CNN, Euronews, AFP, Yahoo! Finance, Cision (PR Newswire), etc…

“Artmarket.com” opens the doors of a future that can only be 100% digital now that the Art Market has already massively migrated into the mobile Internet sector (4.5 billion smartphones in circulation and 5G already operational in certain countries). Artmarket.com is a perfect reflection of this digital electroshock, both scientifically and economically, and it has acquired its lead in this market thanks to years of R&D.

Of course, this name change will have no impact on our customers whose access to our services and our data remains completely unchanged.

Artprice.com shareholders will very soon be invited to an EGM (within the legal deadlines) to approve this name change.

After approval, shareholders of Artprice.com on Euronext will automatically become shareholders of Artmarket.com without any impact on the number of shares held or their attached rights.

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).

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Catégories :2019, Art Market, Artprice, thierry ehrmann Étiquettes : art market, artmarket.com, artprice.com, Thierry Ehrmann

Artprice: The Digital Revolution of the Art Market is Now

2019/07/09 tehrmann Commentaires fermés

PARIS, July 9, 2019 /PRNewswire/ — The acquisition of Sotheby’s by the telecommunications and networks tycoon, Patrick Drahi, may be seen as the Art Market’s final acceptance of the digital era.

To view the Multimedia News Release, please click: https://www.multivu.com/players/uk/8571451-artprice-digital-revolution-art-market/

thierry Ehrmann, Artprice’s Founder and CEO, explains: « In 1998, François Pinault’s acquisition of Christie’s brought our industry into the ‘financial’ era. Twenty years later, its principal rival Sotheby’s is leading the ‘digital’ revolution. Fortunately, much of the groundwork has already been done: Artprice has long been a pioneering force in this colossal metamorphosis. Ten years ago, the famous art historian Raymonde Moulin said: « whether you like it or not, Artprice has irreversibly changed the structure of the Art Market that I have been studying for more than 50 years. »

The next long-awaited step in the Art Market’s evolution is its dematerialization. In 2017, Sotheby’s eliminated buyer fees from its online sales… but five months later, it reintroduced them. Its financial performance was not strong enough to resist the pressure from shareholders who demanded better operating margins. The day after Sotheby’s announced its forthcoming delisting from the NYSE, the French version of The Art Newspaper ran the headline « Sotheby’s regains its freedom… and its secrecy. »

In a context of negative or near-zero interest rates, the Art Market is more attractive than ever, with an average annual return +7% (Artprice100©).

The Art Market is now ready for dematerialization… although compared to other economic segments it has a handicap of almost 30 years…

thierry Ehrmann again: « Our price indices – calculated using the infallible repeat sales method, epitomise the power of our data banks, providing a comprehensive, transparent and, above all, entirely objective coverage of public art sales art around the world. »

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).

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SOURCE Artprice.com

Artprice: Hong Kong drives the Contemporary Art Market

2019/05/29 tehrmann Commentaires fermés

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

Christie’s, Phillips and Bonhams have at last started their 2019 sales programme in Hong Kong, two months after the other major auction houses began theirs. Sotheby’s, 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 Christie’s and Sotheby’s) 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 Christie’s 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 Christie’s 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 Sotheby’s 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 Christie’s 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 (Sotheby’s Hong Kong)

$6,700,000 – 5 April 2014 (Sotheby’s Hong Kong)

$4,100,000 – 25 May 2019 (Christie’s Hong Kong)

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

About the Artron Group:

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Catégories :2019, Art Market, Artprice, auction, Global Lite, thierry ehrmann Étiquettes : #PRC, $PRC, art market, artmarket, artprice, Hong Kong, Thierry Ehrmann, Wan Jie, Zhang Xiaogang

ARTPRICE: Big is beautiful…

2019/05/07 tehrmann 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 Christie’s on 15 May 2019 in New York. Numbered 3/6 in the series, the work already fetched $28.2 million in 2015 and Louise Bourgeois’s 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.

“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 Veronese’s 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, Christie’s 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 Christie’s 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). Christie’s 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.

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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).

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

About the Artron Group:

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Catégories :2019, Art Market, Artprice, auction, Global Lite, thierry ehrmann Étiquettes : #PRC, $PRC, art market, artprice.com, auction, DRAWINGS, Gilbert & George, Giuseppe Bezzuloli, Joana Vasconcelos, KAWS, Mark Bradford, MIXED MEDIA, Osgemeos, PAINTINGS, Philippe de Buyster (Attrib.), photography, sculpture, Takashi Murakami, Thierry Ehrmann, Tracey Emin, Zao Wou-ki

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

2019/04/24 tehrmann 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, Sotheby’s 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 near–zero 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

[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 works – those for which demand is the strongest – are his most recent. The result hammered for a mountain-scene panorama measuring over 8 meters wide and 3 meters high – The 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, Sotheby’s, 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, Christie’s, 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, Sotheby’s, 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 Germany’s 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 (画僧髡残):

– $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, Sotheby’s, 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 world’s 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, Christie’s, 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.

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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).

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

About the Artron Group:

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The Contemporary Art Museum The Abode of Chaos

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Catégories :2019, Art Market, Artprice, auction, Global Lite, thierry ehrmann Étiquettes : #PRC, $PRC, art market, artprice, Artprice: the 10 top-selling artworks, Thierry Ehrmann

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

2019/04/17 tehrmann 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)

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…

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Catégories :2019, Art Market, Artprice, auction, Global Lite, thierry ehrmann Étiquettes : #PRC, $PRC, Art Basel Hong Kong, art market, artprice, asia, Basquiat, Gold Mines, Paul SIGNAC, Thierry Ehrmann

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

2019/04/09 tehrmann 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

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

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 Haring’s.

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.

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Catégories :2019, Art Market, Artprice, Artron, auction, thierry ehrmann Étiquettes : #PRC, $PRC, art market, artprice, auction market, Robert Combas, Thierry Ehrmann

Artprice: Top 50 artworks sold at auction in 2018

2019/03/27 tehrmann 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

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

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Catégories :2019, Art Market, Artprice, auction, Global Lite, thierry ehrmann Étiquettes : art market, artprice, auction, Thierry Ehrmann, top 50 works of art

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 tehrmann 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

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 21^th 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.

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Catégories :2019, Art Market, Artprice, Artron, Demeure du Chaos / Abode of Chaos, Global Lite, thierry ehrmann Étiquettes : AMMA, art market, artprice, Artron, Belt And Road, BRI, France, OBOR, One Belt, One Road, Silk Roads, Thierry Ehrmann, Wan Jie, XI Jinping

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 tehrmann 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

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.

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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

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Catégories :2019, Art Market, Artprice, thierry ehrmann Étiquettes : art market, artprice, Artron, Belt Road Initiative, BRI, OBOR, One Belt One ROad, Silk Roads, Wan Jie, XI Jinping

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

2019/03/12 tehrmann 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

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.

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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/11/2019/03/2019-bio-whoswho-thierry-ehrmann.pdf).

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

About the Artron Group:

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

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Catégories :2019, Art Market, Artprice, Artron, Cision, Demeure du Chaos / Abode of Chaos, Global Lite, thierry ehrmann Étiquettes : AMMA, art market, artprice, Artprice's 2018 Annual Art Market Report, Artron, fine art, Thierry Ehrmann, Wan Jie

Artprice: Top 20 photographers by 2018 auction turnover

2019/02/14 tehrmann 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)

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.

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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

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’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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Catégories :2019, Art Market, Artprice, auction, Global Lite, thierry ehrmann Étiquettes : 2018, 2019, art market, artprice, Cindy Sherman, photography art market, photography at auction, photography market, Thierry Ehrmann

Artprice: Artists under forty – Top 10 ranking

2019/02/05 tehrmann 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

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.

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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

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’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

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3.5 million subscribers

Contact: ir@artprice.com

Catégories :2019, Art Market, Artprice, auction, thierry ehrmann Étiquettes : art market, artprice, auction, Hao Liang, Larry Gagosian, Njideka Crosby, Thierry Ehrmann

Art markets’ visibility: the alliance between Artprice, Artron and Cision

2019/01/11 tehrmann 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

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 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’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

Catégories :2019, Art Market, Artprice, Cision, thierry ehrmann Étiquettes : art market, artprice, Artron, Aude de Kerros, Cision, Contrepoints.org

Artprice: the Top 20 female artists in the global Art Market during 2018

2019/01/07 tehrmann 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

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

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

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

About the Artron Group:

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

Catégories :2019, Art Market, Artprice, auction, Global Lite, thierry ehrmann Étiquettes : art market, artprice, auction, global Art Market, Thierry Ehrmann, Top 20 female artists, turnover

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 tehrmann 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

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 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

Catégories :2018, 2019, Art Market, Artprice, Artron, auction, thierry ehrmann Étiquettes : a very Happy & Prosperous New Year!, art market, artprice, Artron, Artron.net, China, Thierry Ehrmann, Wan Jie

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

About the Artron Group:

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

Catégories :2018, 2019, Art Market, Artprice, auction, thierry ehrmann Étiquettes : #CISN, #PRC, $PRC, AMCI, art market, artprice, artprice global index, Artprice100®, Artron, Cision, glocal, Thierry Ehrmann, Wan Jie, WORLD LEADER IN ART MARKET INFORMATION

Beijing – Art Market: Artprice launches subscriptions via the Artron.net website in China on 1 January 2019

2018/12/19 tehrmann 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):

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).

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

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

Catégories :2018, Art Market, Artprice, Artron, thierry ehrmann Étiquettes : Ali PAy, AliPay, art market, artprice, Artron.net, prc, Thierry Ehrmann, Wan Jie, We Chat, WeChat

2018/12/13 tehrmann 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

(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.

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, 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/

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

Catégories :2018, Art Market, Artprice, Artron, thierry ehrmann Étiquettes : art market, Artprice 100, artprice100, Artprice100®, Blue Chips

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 tehrmann 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’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

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

Catégories :2018, Art Market, Artprice, Artron, Demeure du Chaos / Abode of Chaos, stock market, thierry ehrmann Étiquettes : art market, artprice, Artron, Chinese Art Market, Made in China 2025, New Silk Roads, Thierry Ehrmann, Wan Jie

Artprice: imminent nomination of a Chief Executive in China

2018/10/31 tehrmann 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.

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.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(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

Catégories :2018, Art Market, Artprice, auction, Press Releases, SRD Long Only, stock market, thierry ehrmann Étiquettes : #PRC, $PRC, art market, artprice, artprice.com, Artron, China

Artprice and Artron have just created an “Art Media Mogul”

2018/10/20 tehrmann 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 25^th 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

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

Catégories :2018, Art Market, Artprice, Press Releases, thierry ehrmann Étiquettes : #PRC, $PRC, AMMA, art market, Art Media Mogul, artprice, artprice.com, Artron, Artron Art Group, Artron.net, auction market, China, France, Press Release, Thierry Ehrmann, Wan Jie

Artprice: the 45th edition of the fiac! opens in a general climate of optimism, but…

2018/10/18 tehrmann 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)

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 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

Catégories :2018, Art Market, Artprice, auction, thierry ehrmann Étiquettes : art market, artmarket, artprice, BREXIT, contemporary art market, Fiac, FIAC Paris, France, Frieze, FRIEZE ART FAIR, London, Thierry Ehrmann

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 tehrmann 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 12–month 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:

Global turnover was up 19% to $1.9 billion
The number of lots sold rose by 17%,

Archive

Contemporary Art Generates the Best Returns

Long holding

Top 10 auction gains in H1 2019

Two living French artists among the most profitable

Top 10 des plus-values au S1 2019

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