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Artmarket.com releases the Artprice 2021 Global Art Market Report showing a 60% growth in turnover and a paradigm shift marked by the arrival of NFTs
Our 24th Art Market Report offers an analysis of global auction sales of fine art, including paintings, sculptures, drawings, photographs, print, videos, installations, tapestries – and NFTs – but excluding antiques, anonymous cultural property and furniture. It covers the period from 1 January 2021 to 31 December 2021.
All prices indicated in this report refer to public auction results including buyer’s fees. All references to $ refer to US dollars.
The the global art market’s performance in 2021 was unprecedented, putting the historic tragedy of the Covid 19 pandemic firmly behind it.
The market data shows a spectacular 60% increase in auction turnover in 2021 versus 2020, despite the continuation of the pandemic. The migration of the art market into the virtual sphere of the Internet is now a reality on all 5 continents, almost relegating the need for physical auction rooms to history.
Live online sales by Auction Houses increased 720% worldwide over the two years of the COVID pandemic. This level of growth was previously anticipated for 2025-2027.
Artprice by Artmarket is pleased to announce the publication of its 24th Global Art Market Report ( 2021), available free of charge, in full and in three languages, online as well as in PDF format:
English: https://imgpublic.artprice.com/pdf/the-art-market-in-2021.pdf
French: https://imgpublic.artprice.com/pdf/le-marche-de-lart-en-2021.pdf
Mandarin: https://imgpublic.artprice.com/pdf/zh-the-art-market-in-2021.pdf
Key market data for 2021:
Global art auction turnover reached $17.08 billion, a 60% increase versus 2020.
Turnover from Fine Art sales in the West rose 68% to a total of $10.9 billion.
Revenue from Fine Art sales in China grew 43% to a total of $5.9 billion.
The number of lots exchanged in auctions worldwide reached an all-time record of 663,900 up 29%.
The average price of the lots sold was $25,730 and the median price was $930.
The unsold rate contracted to 31% thanks mainly to online sales.
The Contemporary Art index showed a +3% growth.
Contemporary Art accounted for 20% of the Art Market, compared to 3% in 2000.
Global turnover from fine art auctions
Soft Power
With a total turnover of $5.95 billion (35% of the global total) China hammered more fine art auction proceeds than the USA with its total of $5.79 billion (34%).
With a total of $1.99 billion, the UK was 10% down versus the level it posted in 2019.
The top three national markets in the global art market accounted for 80% of global art auction turnover.
For the first time in its history, France’s annual total exceeded $1 billion at auction, at last becoming a major player in the global art market.
The German market secured 5th place in the global ranking and attracted Sotheby’s to Cologne.
South Korea multiplied its art auction turnover by four, generating $237 million.
China in first position
This report shows that China has once again reached the top position in the global national ranking in terms of art auction dynamism, very clearly demonstrating its ‘serious competitor’ status versus the United States. While China’s market has its own codes, this makes it all the more interesting and it is also why the editorial partnership between Artprice and Artron is both exciting and extremely relevant to the global reality of a rapidly changing market.
Top 10 countries by Fine Art & NFT auctions (evolution vs. 2020)
1. China (Artron): $ 5,953,355,500 (+43.0%)
2. United States: $5,794,793,900 (+102.3%)
3. United Kingdom: $1,996,657,600 (+28.6%)
4. France: $1,008,464,700 (+71.8%)
5. Germany: $356,967,400 (+18)
6. South Korea: $237,290,600 (+369.90%)
7. Italy: $212,554,100 (+49.1%)
8. Switzerland: $193,884,700 (+74.7% )
9. Japan: $167,464,400 (+75.6%)
10. Poland: $142,070,800 (+66.5%)
Auction Houses
Sotheby’s and Christie’s hammer 49% of the global art auction market with $4.4 billion and $4 billion respectively.
Poly and China Guardian are quite a long way behind, with $824 million and $677 million.
Poly and Phillips teamed up in Hong Kong and hammered $175 million together.
Ketterer, with $97 million in 2021, was the leading Auction House in Continental Europe.
Artcurial, France’s leading auction house, sold 3,800 artworks for $91 million.
Artists and auctions
In 2021, one lot fetched over $100 million: Pablo Picasso’s Seated Woman (1932) at Christie’s New York.
In 1997, the same painting sold for $7.5 million.
In 2021, Picasso, Basquiat, Warhol, Richter and Zhang Daqian were the most successful artists at auction in the world.
Beeple was the most expensive living artist of the year, with a lot that fetched $69.4 million.
Gerhard Richter and Banksy are the world’s most successful living artists at auction.
Banksy totaled 1,186 works sold for $206 million, including a new record at $25.4 million.
Yayoi Kusama is the first woman in history to join Artprice’s Top 10 global artists by turnover.
Jean-Michel Basquiat became the 2nd most successful artist in the world, after Picasso.
For the first time, five major Basquiat works were sold in Hong Kong.
Major trends
1. NFTs offer a whole new way of collecting:
The results for works by Beeple, Pak, Larva Labs, Yuga Labs have made this new market unavoidable.
As soon as they arrived at auction, the 279 NFT lots totaled $232.4 million (more than the photography segment).
2. Young artists broke precocity records (the so-called “red-chip” phenomenon):
Beeple (40 years old), Avery Singer (34 years old), Fewocious (18 years old) reached eye-watering prices.
3. Demand for works by African artists and artists from the African diaspora showed tremendous vitality.
The Art Market 3.0: NFT, Metaverse and Blockchain
thierry Ehrmann, CEO and Founder of Artmarket.com and its Artprice department:
“Internet 2.0 made it possible to be on the Internet. Internet 3.0 is now happening in the Internet. During 2021, with COVID taking so many lives and completely dominating our daily lives and vocabulary, the famous Collins dictionary still considered the word « NFT » to be the most important “word of the year”. Highly controversial, the term is important not just for having been on everyone’s lips, but because it carries within it the seeds of a digital revolution that is impacting the art market in a way we haven’t seen in five centuries. That is why our 2021 Art Market Report begins with this term.”
To fully comprehend the historical impact of NFTs on the art world in 2021, we must go back to the Renaissance when a similar paradigm shift occurred. Thanks to Johannes Gutenberg’s printing house, artists were – for the first time – able to print their first editions. This represented a major transfer of power into the hands of artists.
This evolution allowed artists – for the first time in history – to generate income and to control their own production in their workshops and factories. Today with NFTs, we are experiencing a similar paradigm shift with the same historical importance.
The Metaverse is not about 3D or 2D. It is about the dematerialization of the physical state to a new world where once impossible experiences are now accessible.
During this 21st century of Enlightenment, the art world will be reconfigured around creation and the virtual (but very real) economy, finally providing the necessary support for a much larger population of creators.
Singularity remains the most beautiful signature, even in the virtual world of the Metaverse.
The dematerialization of the Art Market via the Internet took roughly 30 years. With the world of NFTs and the Metaverse, the internet is no longer just a transit vehicle for the Art Market… it is where the art itself will be created and exchanged. We are entering a totally new dimension.
Geographical distribution of Fine Art auction turnover in 2021
In short, despite being strongly impacted by the pandemic – an unprecedented global tragedy in the history of the modern economy – the art market has managed to rebound via the adoption of digital technology in record time. This shift has enabled exponential growth of +60%, despite the continuation of the pandemic more or less everywhere on the world’s five continents. In the West, this spectacular annual growth even reached +68%, a growth level not seen in 25 years.
Images:
[https://imgpublic.artprice.com/img/wp/sites/11/2022/03/image1-EN-Global-Auction-TUrnover_EN.jpg]
[https://imgpublic.artprice.com/img/wp/sites/11/2022/03/image2-EN-geographical-breakdown_EN.jpg]
Copyright 1987-2022 thierry Ehrmann www.artprice.com – www.artmarket.com
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Artmarket.com: Pak allows thousands of collectors to buy part of a work whose total price reaches USD 91.8 million
The idea of buying an artwork collectively goes back a long way and has been entertained in various schemes and formats. But the problem of how to resell your ‘shares’ was always a complicated obstacle.
However, according to Artprice, this problem has finally found a solution with NFTs. Anonymous artist Pak put « mass units » up for sale on Nifty Gateway for 48 hours. The final work, titled The Merge, is made up of 266,445 “units” that can be sold separately and instantly on the blockchain.
Invader – Rubik Mona Lisa (2005), sold for $520,000 by Artcurial on February 23, 2020
thierry Ehrmann, CEO and Founder of Artmarket.com and its Artprice department: “Blockchain and NFTs have at last made it possible to design properly effective forms of securitization on the art market. Non-fungible tokens open up endless possibilities for the acquisition of shares in a work, as Pak has demonstrated with this extraordinary sale. This represents a veritable paradigm shift for the art market”.
28,000 collectors
From now on, the unknown factor is no longer the sale price (fixed in advance) but rather the number of units purchased. Moreover, Pak and Nifty Gateway developed a whole strategy to boost demand during the 48 hours that the sale lasted:
– initial price of $299 for loyal collectors of Pak and $400 for new entrants
– increasing price by $25 every six hours
– for 10 units purchased an eleventh is free; for 1,000 units purchased 300 more are free
– a continuous real-time ranking of the best buyers (under pseudonyms)
– the work Alpha Mass offered to the largest buyer
In total, 266,445 “mass units” were purchased for $91.8 million by 29,000 different buyers. This makes an average price of $316 per unit and an average of 9 units acquired per buyer. According to Artprice by Artmarket, the result is a genuine ‘community’ that the artist has brought together to create a gigantic and dematerialized work, in which everyone is free to resell their shares at any time.
Typically, works of art are auctioned off as one-offs rather than as a series. Jeff Koons’ Rabbit sculpture (1986) made Koons the most expensive living artist in 2019 when it sold for $91.12 million.
One or more works?
In April 2021, Pak organized a sale with Sotheby’s called The Fungible Collection. For three days, for only 15 minutes each day, anyone could acquire “cubes” at a fixed price:
– 1st day: 19,737 cubes sold at $500 = $9,868,500
– 2nd day: 3,268 cubes sold at $1,000 = $3,268,000
– 3rd day: 593 cubes sold at $1,500 = $718,500
While the cubes in each buyer’s wallet were linked, the 23,598 cubes did not make a total work per se: each purchaser acquired his own set of cubes with an average purchase price of $587. Similarly, Beeple’s The first 5,000 days (sold at Christie’s in March 2021 for $ 69.4 million), is theoretically made up of 5,000 full works, the average price of which is therefore around $14,000.
By way of comparison, the sale of the Macklowe Collection on 15 November 2021 at Sotheby’s New York raised $676 million from 35 works; that’s an average value of $19.3 million per lot. The comparison doesn’t make a lot of sense except from the point of view of the homogeneity of the works and their securitization. Imagine you’d been given the opportunity of acquiring a share in Mark Rothko’s No. 7 (which entered the Macklowe Collection in 1987) for $500. After its sale for $82.5 million, you would own a 165,000th part of the painting.
However, Pak’s approach is the opposite since the work, The Merge, did not yet exist at the time of the sale. No-one knew what it was going to look like. By buying a part of this unknown work, each collector contributes to it. Encouraged by a low starting price but also encouraged to acquire the largest number of units in order to receive a reward, The Merge is a game that brings together technology buffs, cryptocurrency and NFT devotees and art enthusiasts increasingly fascinated by this universe.
Artists have now moved into the primary position around which the art market revolves.
According to Artmarket.com, NFTs represent a genuine grassroots movement that has created its own ecosystem, with a virtuous economy and exponential growth potential.
Indeed, the turnover generated by NFTs so far this year (to 9 December 2021) – as measured by ERC 721 and ERC 1155 Ethereum smart contracts relating to the art market and collections – is 26.9 billion dollars (source Chainalysis).
Image: [https://imgpublic.artprice.com/img/wp/sites/11/2021/12/Invader-Joconde.jpg]
Copyright 1987-2021 thierry Ehrmann www.artprice.com – www.artmarket.com
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Artmarket.com: Here’s why the art market, via the NFT revolution, will enjoy exponential growth with Artprice:
For 25 years now, Artprice by Artmarket – world leader in art market information – has been studying, analyzing and researching the structure of the art market from every possible angle. This work has engaged all of its human and technical resources, including its art history department, its databases, its econometricians and statisticians, its sociologists, and of course its economists, jurists and tax specialists.
AbodeofChaos #99
© (collection of 999 NFTs), NFT sculpture and algorithm by thierry Ehrmann.
Courtesy of Organe Museum / Abode of Chaos / La Demeure du Chaos
[https://imgpublic.artprice.com/img/wp/sites/11/2021/12/image1-AbodeofChaos-99.jpg]
Artprice-nft.com
[https://imgpublic.artprice.com/img/wp/sites/11/2021/12/image2-NFT-bill.jpg]
According to thierry Ehrmann, founder and CEO of the group, ‘Over the past five years, Artprice by Artmarket has literally second guessed the impact of NFTs on the art market by adding blockchain to its core database business and digitizing its historical art market standardization work. Artprice is the sole author of these projects with IP protection of its source codes since 1999′.
For its innovative R&D and its creation of Artpriceblockchain.com, Artmarket was awarded the prestigious state label “Innovative Enterprise” by the BPI (French public investment bank) in 2015 and then again in 2018 (it is rarely awarded more than once).
Artmarket.com is now setting its sights even higher as it launches its NFT ® Marketplace with a realistic ambition to generate a future turnover of several tens of millions of euros, and possibly even hundreds of millions in the longer term.
This ambition is based on the logic and reasoning explained below, which, on the one hand involves a specific and unique approach to Blockchain and NFTs, and on the other, relies on a historical, sociological and economic analysis of the art market.
Specific and unique approach to Blockchain and NFTs
In the design of its DAO (Decentralized Autonomous Organization) Artmarket.com will produce ‘smart contracts’ registered on the Ethereum blockchain.
Today, Artmarket.com’s eco-responsibly designed DAO brings together the immutable and transparent rules governing the art market (one of the oldest market’s in the world) with total impartiality. Artprice has been scientifically codifying these rules for the last 25 years.
Artmarket.com’s DAO is transparent. It is de facto based on a supra-national framework and is the subject of contributions from the best historians, jurists, scientists and econometricians. These contributions have been collected over the past two decades to establish the company’s open data.
Artprice – world leader in art market information – has been the sole author of its databases for 25 years. Today, its databases are authoritative throughout the world and include the world’s largest documentary archive of notes, manuscripts and sales catalogs since 1700, which further guarantee the authenticity and historical legitimacy of its databases.
As a direct consequence of its reliability and its undisputed reputation in the art market, Artprice has the full capacity and is perfectly positioned to play the role of oracle (source of reliable information that allows the integration of variables from the real world into smart contracts) in Artmarket.com’s blockchain.
Artprice’s legitimacy as a blockchain oracle is based on its real-time collection of data from 6,300 auction houses around the world which automatically transfer their public auction results to Artprice.
Within Web 3.0 communities, an oracle can only be an oracle if it relies on a multitude of public sources, which is exactly what Artprice does with its 6,300 public sources.
As an oracle, Artprice will feed data from its databases. This data will include public auction results; historical, indexed and econometric data about artists and their works; detailed information concerning the traceability of works, etc.
As an oracle input, Artprice’s data will have the status of ‘recognized official market information’, and the activation or non-activation of ‘smart contracts’ will depend on the information provided by Artprice.
There is no doubt that Opensea and Rarible, to name but two, are among the NFT platforms that would immediately benefit from an industrial collaboration with Artmarket.com, the latter providing an indisputable, unavoidable and global art market reference going back a quarter of a century.
Artmarket.com will study each proposal, joint venture, capital participation, merger and/or acquisition and will give its approval if the proposals make good industrial sense and perpetuate its principal ethic: the promotion of art market information and transparency.
In view of the different legislation in force in France and, at a broader level, in Europe generally, Artmarket.com is looking into registering with the AMF as a Digital Assets Service Provider (DASP or PSAN in French) with a view to its forthcoming status as a FinTech company. At the same time, Artmarket.com will constantly monitor US and European legislation thereby allowing it and its American subsidiary to make the best choices as a future FinTech.
Historical, sociological and economic analysis of the art market
The following synthesis by Artmarket.com is based on the study of thousands of articles and reports, and hundreds of interviews, meetings and conferences on the world of cryptology, cryptocurrencies, blockchain, NFTs and the metaverse.
Thanks largely to the greater transparency and the greater ease of access to information – to which Artprice has been the main contributor in the world for 25 years – it has been made possible to observe that the art market experienced an overall turnover growth of +2700% between 2000 and 2020.
The art market’s growth – initially specific to the West – is now happening on five continents of the globe. Lately it has been substantially driven by a veritable explosion of the media employed by artists and the arrival of young artists with astonishing auction debuts in what is clearly now an efficient market.
The principal question Artprice has been studying and following closely is the impact of NFTs on the art market. Each of its annual reports devotes a large chapter to NFTs, such as its latest Contemporary Art Market Annual Report published in October 2021: https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2021
At the Beginning of 2022, Artmarket.com will publish a comprehensive report on NFTs and their impact on the art market.
Using the experience of its various departments, Artprice compares NFTs with the market for multiples (lithographs, prints, serigraphs, etc.) in the 20th century.
It was traditionally believed that multiples weakened artists whose markets were already established. This belief was essentially based on a technical and scientific reality: it was not possible to control with absolute certainty the number and quality of prints/multiples in circulation. As a result, prints/multiples are often considered the poor cousins of the art market.
Another interesting fact to consider before pursuing this comparison is liquidity. In reality, if you want to buy an artwork that you can be sure to sell within a year, you need to pay at least €20,000. In 2021, if you are looking for exit liquidity within a month, you need to pay at least €50,000.
NFT artworks, because they represent a complete paradigm shift, challenge the whole traditional economy of the art market.
Indeed, the NFT revolution, which undermines all the barriers inherent to the mores, customs and standards of the traditional art market, is now clearly approved by a broad consensus of users, collectors and creators, and notably, by whole communities of artists themselves.
Blockchain technology, via ‘smart contracts’, allows the issuance of ‘non fungible tokens’ with scientific certainty about their origin, their number and indeed about their every detail. This instantly affords confidence to the art market which, under these conditions, accepts the creation and circulation of multiples, which, in the past, might have weakened the artist’s market.
But, the NFT revolution doesn’t stop there. It is now based on digitally-certified issues that, thanks to blockchain, no-one can divert. For example, this allows a recognized artist (with an established price range) to issue a large number of NFTs forming a collection of digital works that become a sort of dialogue with his/her public. This interactivity will attract new collectors to the artist’s universe/metaverse. The artist will then be able to see his/her income and notoriety grow, without damaging his/her reputation and relationship with the art market’s key players.
According to our cross-checked calculations based on a large range of criteria and considerations, this radical transformation of the art market is likely to grow the population of art collectors from approximately 120 million today (with an average age of 54) to more than 900 million buyers of NFTs (and who knows what other artistic formats…) with a much younger and much more varied sociological profile.
Put simply, there exists today a whole generation of humans that has always lived with digital technology and completely understands that art NFTs are a sought-after, rare and speculative product surrounded by hype and considered avant-garde, and affording a degree of digital social recognition… and neither the hip factor, nor the modishness, nor the speculative aspect are a problem for this generation.
In addition, in 2021, digital media are absolutely everywhere: smartphones, smartTVs, tablets and computers, number in the billions. These high definition screens, now with very low power consumption due to MicroLEDs with deflationary prices, are increasingly prevalent in our daily lives, both in the private, and professional spheres, and in public spaces like airports and shopping centers, etc..
NFT Art has been conceptualized to penetrate into everyone’s daily lives, in an ‘ultra-democratization’ of art, without loss of rarity and quality. The revenues generated by this historic change are already spectacular, as we saw with the result of Beeple,alias Mike Winkelmann, ($69.3 million) at Christie’s, already rivaling historical auction records for physical works. These results are playing a spearhead role for this new world.
In addition, the new buyers of NFTs can engage in a form of double speculation: on the one hand, there’s the artwork which is a thousand times easier to sell (on an NFT platform) than the multiples of the last century; and on the other hand, there’s the fluctuation in the value of the cryptocurrency in which its value is denominated. This is a significant factor as it adds the possibility of economic gain to the pleasure of accessing art.
Through its expertise in the art market, Artprice by Artmarket has the ability to ‘bring out’ thousands of communities of artists (with known market prices) originating from recent trends like Street Art (whose visual works seems to have been born for NFTs) among others, or even more fringe trends like performance art, which has been always excluded from the mass market.
With Artmarket.com smart contracts, the artist or his/her beneficiaries and Artmarket.com will receive recurring income from the NFT artwork, from its primary issue to its various transactions on the secondary market.
What Artmarket.com brings to the NFT market is its guarantee as world leader in art market information along with its expertise, its extreme technological discipline and the strict terms in the metadata of its smart contracts, thereby creating the necessary conditions for the success of this new revolution in the art market.
The DNS artpricecoin.com, filed in December 2017 (along with all the corresponding names) illustrates Artprice by Artmarket’s early awareness of this paradigm shift to NFTs and cryptocurrencies.
As a global phenomenon, the advent of NFTs within a blockchain environment has parallels with the world of music. In its very early days, music was only available to those who went to listen to it. This changed with the technical capacity to record and reproduce sound on different media.
That technological advance democratized music, infinitely multiplying the listening possibilities. The number of musicians as well as the number of music enthusiasts literally exploded, generating colossal financial flows and profits within what is commonly called ‘the music industry’, which, at the end of 2021, had nearly one billion paying subscribers, thanks to digital technology.
With the arrival of NFTs, the paradigm shift in the art market is at least comparable. This change will take us towards a mass art market, but one that will always retain a certain elitist quality (like all cultural markets).
Through exchanges between Artprice by Artmarket and internationally renowned artists (and others) and/or their beneficiaries, we have become acutely aware of a strong demand to exploit the NFT medium in a carefully considered manner. And awareness of the potential of NFTs in the blockchain environment already appears to be very widespread.
For artists, past and present (768,000 artists are referenced and priced on Artprice by Artmarket), the NFT phenomenon represents a very powerful growth driver. Artists are the central core on which the whole art market is based and they will now apprehend the future of the art market, and their own futures, from a very positive angle within the Artmarket.com universe, which will progressively transform into a metaverse.
Images:
[https://imgpublic.artprice.com/img/wp/sites/11/2021/12/image1-AbodeofChaos-99.jpg]
[https://imgpublic.artprice.com/img/wp/sites/11/2021/12/image2-NFT-bill.jpg]
Copyright 1987-2021 thierry Ehrmann www.artprice.com – www.artmarket.com
- Don’t hesitate to contact our Econometrics Department for your requirements regarding statistics and personalized studies: econometrics@artprice.com
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Artmarket.com: Artprice and Cision extend their alliance to 119 countries to become the world’s leading press agency dedicated to the Art Market, NFTs and the Metaverse
(23 Nov. 2021) – Artprice by Artmarket – whose reference shareholders are Server Group®, an Internet pioneer in Europe since 1985, and Cision® (PR Newswire) – are pleased to announce the extension of their globally unique alliance for the distribution of news feeds to 119 countries.
Artprice Metaverse
© ‘Alchemical Fractal 2’ (collection of 999 works), raw steel, NFT sculpture and algorithm by thierry Ehrmann.
Courtesy of Organe Museum / Abode of Chaos / La Demeure du Chaos
© ‘Alchemical Fractal 2’ (collection of 999 works), raw steel, NFT sculpture and algorithm by thierry Ehrmann.
Courtesy of Organe Museum / Abode of Chaos / La Demeure du Chaos
artprice-nft.com
This extended partnership confirms Cision as the official distributor of news and content for the World Leader in Art Market information, Artprice by Artmarket.
According to Frédéric Dumas, Cision France’s Sales Vice-President : “Cision supports global brands that are respected around the world. Pursuing and strengthening our partnership with Artmarket.com gives Cision the opportunity to be at the forefront of current events in the Art Market, Blockchain, the world of NFTs and the Metaverse.”
For thierry Ehrmann, founder of Artprice and CEO of Artmarket.com:” This alliance with Cision, now serving 119 countries, allows us to reach emerging countries on all continents, which already have a considerable lead over the ‘West’ in terms of crypto, Blockchain and NFTs. This strategic alliance is based on 21 years of mutual respect and daily practice between Cision PR Newswire and Artprice by Artmarket.
Over the past 120 years Cision has slowly but surely built a global news distribution network recognized by more than 100,000 reputable clients in the financial sector. Cision is also the global leader in PR & Influence Software.
With its database of 1.6 million journalists and media outlets, Cision diffuses high value-added news and information to all five continents of the globe.
This latest agreement is the direct result of the long-standing relationship over two decades between Artprice and Cision, both powerful leaders in their respective markets.
According to thierry Ehrmann: “Cision’s newswire exceeds industry standards for news dissemination. It allows Artprice to reach a larger public, which now represents approximately 900 million art enthusiasts, collectors, market professionals (galleries, auction houses and institutions/museums) and has recently expanded to include a whole new younger population of artists, creators and consumers galvanized by the art market’s links with the crypto-verse and the emergence of NFTs and the Metaverse”.
This geographically extended daily newsfeed will reach deep into 119 ‘developed’ and ‘emerging countries. Some of the latter are at forefront of the NFT phenomenon, carried by communities of artists who are changing the world to a new paradigm where the artist becomes the principal player at the very heart of the art market. This evolution is perfectly in line with our long held convictions and our recent Manifesto.
Artprice already has an open community of 765,000 artists and 5.4 million actively contributing members, including 4.5 million collectors and art enthusiasts as well as 900,000 art professionals.
Through this alliance with Cision – now extended to 119 countries – Artprice by Artmarket is reaching out to new worlds… and their parallel universes.
#ArtMarket by #ARTPRICE $ PRC #NFT #CryptoArt #metaverse #DigitalArt #NFTs #MarketPlace #BTC #ETH #OpenSeaNFT #raribleNFT #Ethereum #Manifesto
Images:
[https://imgpublic.artprice.com/img/wp/sites/11/2021/11/image1-artprice-metaverse-thierry-ehrmann-organ-museum-002.jpeg][https://imgpublic.artprice.com/img/wp/sites/11/2021/11/image2-artprice-NFT-bill.jpg]
About Cision / PR Newswire:
Cision, a brand promotion company, is the global leader in Earned Media, PR & Influence software for communications professionals. Cision allows communicators to identify and engage with their key journalists and influencers, develop and distribute content and measure the impact of their campaigns: TV, Radio, Press, Web and Social Networks. Cision has a workforce of over 4,000 employees and offices in 22 different countries (Americas, EMEA, APAC).
Copyright 1987-2021 thierry Ehrmann www.artprice.com – www.artmarket.com
- Don’t hesitate to contact our Econometrics Department for your requirements regarding statistics and personalized studies: econometrics@artprice.com
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Artmarket.com: Artprice registers a record number of Fine Art auction transaction in H1 2021
Throughout the first half of 2021, still seriously inhibited by the health crisis, the Fine Art auction market secured the continued circulation of artworks. In fact, the auction majors managed to project a substantially more attractive image of their activities by a savvy mix of online sales, thematic and charitable sales and a daring collaboration with what would traditionally be called the ‘primary’ market. In addition, the auctioneers have at last opened their doors to dematerialized artworks and have been surfing on a wave of ultra-Contemporary art that has also caught the attention of the mainstream media.
Weekly evolution of global Fine Art auction turnover
Comparison between the last five years
thierry Ehrmann, CEO and f ounder of Artmarket.com and of its Artprice department:
“Artprice has registered the highest -ever number of successful Fine Art adjudications in the world , up +10.5% compared with H1 2019, which already set a historic record.
The absence of international fairs has clearly redirected some collectors to the auction houses (live or online), but the growth in the volume of transactions predates the health crisis and is basically just re-starting again . ”
High-end market vs. affordable market
After a chaotic year 2020, the art market’s auction agenda essentially returned to normal, notably with the resumption of New York’s spring sales. The sessions organized during week 19 (from 10 to 16 May 2021) totaled $1.5 billion in New York, equivalent to 21% of global art auction turnover in H1 2021.
However, our data for the H1 period suggests the art market is still relatively affordable: of the 302,100 lots auctioned around the world, 51% were acquired for less than $1,000, including buyers’ fees. And, unlike the ultra high-end market, these affordable works have been offered and sold very evenly throughout the year. Online sales now even ensure a low level of art market activity during the months of July and August, which are usually marked by a complete standstill.
Fine Art lots sold at auction filtered by price range (H1 2021)
Hong Kong bucks the trend…
The former British colony is now playing a vital role in the international strategies of the auction majors like Christie’s, Sotheby’s, Phillips and Bonhams, but also of China Guardian and Poly Auction, and together they have made Hong Kong the most luxurious art marketplace on the planet.
Only 3,200 Fine Art works were sold in Hong Kong in H1 2021, but they totaled nearly $1 billion ($962 million). In fact, the average price of an artwork in Hong Kong auctions during H1 2021 was $300,000! A price that sets Hong Kong apart from New York (average price $41,000), London ($32,000) and Paris ($10,600), and from the rest of China ($94,000).
In just six months, 18 lots fetched over $10 million in Hong Kong although none reached $50 million. Today, Hong Kong’s ultra high-end market is as intense as London’s, and nine times bigger than the Paris market (where two lots crossed the $10 million threshold in the same period). In mainland China, only eight lots sold for more than $10 million over the same period, but the $50 million threshold was once again breached (for an 18th century work by Xu Yang).
First “unlimited” sale
Sotheby’s sale entitled “The Fungible Collection” was a perfect example of the creativity shown by the major auction houses in H1 2021. The international auction company acquired by Patrick Drahi in 2019 worked directly with the anonymous artist Pak and the web platform Nifty Gateway (without going through a gallery) to sell an unlimited series of NFTs.
Core to the collection was the Open Editions, which allowed collectors to purchase as many fungible cubes as they wished during the sale period for fixed prices. The duration of the sale was three times 15 minutes, spread over three days, and the price rose each day. It resulted in the sale of 23,598 digital cubes: 19,737 cubes at $500 on Day 1; 3,268 cubes at $1,000 on Day 2 and 593 cubes at $1,500 on Day 3. In addition to these small works, there were two unique lots (The Switch for $1.44 million, and The Pixel for $1.35 million) as well as several ‘awards’. Some NFTs (potentially worth several million dollars) were awarded to the best buyers, as well as to anyone who managed to solve a puzzle invented by Pak.
This extraordinary session questioned not only the notion of a digital artwork and its ‘ownership’, but also the notion of value creation in the ‘Art Market 2.0′, in which the offer can be multiplied at a lower cost.
Images:
Copyright 1987-2021 thierry Ehrmann www.artprice.com – www.artmarket.com
- Don’t hesitate to c ontact our E conometrics D epartment for your requirements regarding statistics and personalized studies: econometrics@artprice.com
- Try our services (free demo): https://www.artprice.com/demo
- Subscribe to our services: https://www.artprice.com/subscription
Artmarket.com: Artprice registers a record number of Fine Art auction transaction in H1 2021
Throughout the first half of 2021, still seriously inhibited by the health crisis, the Fine Art auction market secured the continued circulation of artworks. In fact, the auction majors managed to project a substantially more attractive image of their activities by a savvy mix of online sales, thematic and charitable sales and a daring collaboration with what would traditionally be called the ‘primary’ market. In addition, the auctioneers have at last opened their doors to dematerialized artworks and have been surfing on a wave of ultra-Contemporary art that has also caught the attention of the mainstream media.
Weekly evolution of global Fine Art auction turnover
Comparison between the last five years
thierry Ehrmann, CEO and f ounder of Artmarket.com and of its Artprice department:
“Artprice has registered the highest -ever number of successful Fine Art adjudications in the world , up +10.5% compared with H1 2019, which already set a historic record.
The absence of international fairs has clearly redirected some collectors to the auction houses (live or online), but the growth in the volume of transactions predates the health crisis and is basically just re-starting again . ”
High-end market vs. affordable market
After a chaotic year 2020, the art market’s auction agenda essentially returned to normal, notably with the resumption of New York’s spring sales. The sessions organized during week 19 (from 10 to 16 May 2021) totaled $1.5 billion in New York, equivalent to 21% of global art auction turnover in H1 2021.
However, our data for the H1 period suggests the art market is still relatively affordable: of the 302,100 lots auctioned around the world, 51% were acquired for less than $1,000, including buyers’ fees. And, unlike the ultra high-end market, these affordable works have been offered and sold very evenly throughout the year. Online sales now even ensure a low level of art market activity during the months of July and August, which are usually marked by a complete standstill.
Fine Art lots sold at auction filtered by price range (H1 2021)
Hong Kong bucks the trend…
The former British colony is now playing a vital role in the international strategies of the auction majors like Christie’s, Sotheby’s, Phillips and Bonhams, but also of China Guardian and Poly Auction, and together they have made Hong Kong the most luxurious art marketplace on the planet.
Only 3,200 Fine Art works were sold in Hong Kong in H1 2021, but they totaled nearly $1 billion ($962 million). In fact, the average price of an artwork in Hong Kong auctions during H1 2021 was $300,000! A price that sets Hong Kong apart from New York (average price $41,000), London ($32,000) and Paris ($10,600), and from the rest of China ($94,000).
In just six months, 18 lots fetched over $10 million in Hong Kong although none reached $50 million. Today, Hong Kong’s ultra high-end market is as intense as London’s, and nine times bigger than the Paris market (where two lots crossed the $10 million threshold in the same period). In mainland China, only eight lots sold for more than $10 million over the same period, but the $50 million threshold was once again breached (for an 18th century work by Xu Yang).
First “unlimited” sale
Sotheby’s sale entitled “The Fungible Collection” was a perfect example of the creativity shown by the major auction houses in H1 2021. The international auction company acquired by Patrick Drahi in 2019 worked directly with the anonymous artist Pak and the web platform Nifty Gateway (without going through a gallery) to sell an unlimited series of NFTs.
Core to the collection was the Open Editions, which allowed collectors to purchase as many fungible cubes as they wished during the sale period for fixed prices. The duration of the sale was three times 15 minutes, spread over three days, and the price rose each day. It resulted in the sale of 23,598 digital cubes: 19,737 cubes at $500 on Day 1; 3,268 cubes at $1,000 on Day 2 and 593 cubes at $1,500 on Day 3. In addition to these small works, there were two unique lots (The Switch for $1.44 million, and The Pixel for $1.35 million) as well as several ‘awards’. Some NFTs (potentially worth several million dollars) were awarded to the best buyers, as well as to anyone who managed to solve a puzzle invented by Pak.
This extraordinary session questioned not only the notion of a digital artwork and its ‘ownership’, but also the notion of value creation in the ‘Art Market 2.0′, in which the offer can be multiplied at a lower cost.
Images:
Copyright 1987-2021 thierry Ehrmann www.artprice.com – www.artmarket.com
- Don’t hesitate to c ontact our E conometrics D epartment for your requirements regarding statistics and personalized studies: econometrics@artprice.com
- Try our services (free demo): https://www.artprice.com/demo
- Subscribe to our services: https://www.artprice.com/subscription
Artmarket.com: Banksy is the top living artist in Artprice’s turnover ranking for H1 2021. The Art Market recognizes Street Art as a major and globalized discipline
Will future generations consider Banksy the most important artist of the early 21st century? In any case, that’s what the $123 million hammered in the first half of 2021 suggests, giving Banksy 5th position in Artprice’s general ranking (all periods combined) just behind the giants Picasso, Basquiat, Warhol and Monet.
Whether we like it or not, a page in Art History is being written and it can no longer be seen as ‘just a fad’. After 25 years tackling universal issues (that are far from being resolved) by taking them into the streets and inviting them into our daily lives, Banksy’s highly topical works are today driving the growth of his market more than ever before.
Evolution of Banksy’s auction sales – Turnover vs. Lots sold
Left: Turnover from Banksy’s work by year of creation (2003 – S1 2021)
Right: Banksy © thierry Ehrmann – Courtesy of The Abode of Chaos
thierry Ehrmann, CEO and Founder of Artmarket.com and its Artprice department : “D emand for Banksy’s works has been growing exponentially for five years . I t is already too late for museums to hope to acquire original works at reasonable prices. But who could predict that this anonymous street artist, turning his back on the system, would become the most successful living artist on the Art Market? A few years ago, the Tate Modern apparently refused a donation from the artist … Since then, Banksy has become a genuine symbol, made stronger by each crisis (financial, health, etc.) that our world encounters . ”
Game Changer
Banksy’s work has pursued a tradition that began with Ernest Pignon-Ernest and Blek le Rat, but he brought the art of stenciling into the 21st century. Each new work discovered in the streets of Bristol or the ruins of Gaza or on the back door of the Bataclan in Paris or in the New York subway has been photographed, publicized, liked, shared, even appropriated … before being removed, as is still too often the case, by the city’s cleaning service, or, in some cases stolen.
A brilliant drawer and very clever with his locational choices and the diffusion of his works, Banksy has brought to life an oeuvre that is spectacular and rhizomatous in nature. Each new piece carries a message for everyone, regardless of our age, language or knowledge of art history.
Taken together, Banksy’s works have, for a quarter of a century, formed a gigantic fresco that depicts the sorrows and challenges of our society, both present and future: climate change, war, inequality, terrorism, etc. His work increasingly stands out as a political weapon via projects with an audacity unprecedented in art history: his ‘bemusement’ park Dismaland (2015), the Walled Off Hotel in Bethlehem (2017) and his migrant boat Rescue (2020), to name but a few.
While Banksy remains first and foremost a committed street artist who seeks a sort of perfect equilibrium in both space and time, his work has subsequently been made available practically ad infinitum. By reusing his stencils for several years on canvas or cardboard, by printing limited editions, by uploading photos to his Instagram account and by having his works reproduced on cups, magnets and key rings, Banksy has made his work omnipresent in our daily lives.
John Russo, Group CEO of Maddox Gallery: “When you consider the widespread and global acclaim that Banksy has achieved as an anonymous living artist, whose practice is an art form that for centuries has been considered vandalism, he’s single-handedly changed the face of contemporary art as we know it. This, combined with his engagement with current affairs and witty immortalization of public opinion has not only allowed him to capture the zeitgeist of our time, but also to open the gates of the contemporary art world to a new era of creatives.”
Compared with Beeple, whose digital works are followed daily by 2.2 million followers on Instagram and whose NFT Everdays fetched $69.3 million in March 2021, Banksy’s work actually responds to an extremely pressing demand for art that looks straight into the eyes of our present and sounds alarm bells for the future. Paradoxically, his work criticizes the very society that acclaims him. Highly cynical (Laugh now), his work nevertheless gives a preponderant place to tenderness (Flower thrower), humour (Che Guevara on Skates), hope (Girl with balloon) and it always seeks to surprise.
Happy Shopper
Banksy’s pieces are rarely sold on the primary market, except as a happening (in New York, Venice or on shop.grossdomesticproduct.com), but they circulate abundantly on the secondary market, whether in galleries, on the internet or in public auctions. More than 1,200 of his works were offered in auctions during the first semester of 2021, three-quarters of which found buyers (only 23% unsold).
Entire sessions are devoted to him at Sotheby’s, Christie’s, or Forum Auctions, covering all price ranges from original works at several million dollars and highly sought-after artist’s proofs to prints and sculptures in more or less limited editions, signed or unsigned. This intense transaction level is overseen by an authentication system set up by the artist himself, the ‘Pest Control Office’.
John Russo, Group CEO of Maddox Gallery:“The magic behind the story of Banksy is that he has achieved what every artist wants to achieve: success on the secondary market. With Banksy last releasing an edition in 2010, purchasing a Banksy on the primary market has been impossible for most collectors.
With Pest Control at hand, however, to authenticate works in circulation on the secondary marketplace, Banksy has engaged his followers in a simple game of economics. By drastically limiting the supply of his work, he’s driven up the value of the pieces in circulation, allowing his early followers the opportunity to realize an incredible return on their purchase.
For those that have purchased from a reputable gallery with a close working relationship with Pest Control, as we are proud to say that we have at Maddox, Banksy investors will have achieved a considerable profit in the past decade, with our own clients realizing an average profit of 42.6% in 2020 alone.”
I Can’t Believe You Morons Actually Buy This Shit
When Banksy has tried to undermine the very market that has elevated him to stardom (albeit anonymous), it has had the opposite effect: when his Girl with balloon (2006) partially self-destructed just after being hammered down for $1.4 million in 2018, its value is said to have risen substantially. This spectacular turn of events was so well orchestrated that some suspected collaboration between the artist and Sotheby’s: how could the shredder have escaped the prestigious auction house’s attention? Clearly Banksy doesn’t suffer too much from bad luck.
And yet… he is also capable of playing the market’s game when it is for ‘a good cause’. Earlier this year, he sold his canvas Game Changer (2020) in order to refinance Southampton hospital in the midst of the health crisis. The work fetched a record $21.9 million, i.e. 17% of his total auction turnover in the first semester of 2021.
In H1 2021, Banksy’s market was mainly split between the United Kingdom (64% of his auction turnover), the United States (15%) and Hong Kong (13%). This triangular market, more and more evenly distributed between the three major capitals of the global art market, fully contributes to the rise in the value of his works. This is perfectly illustrated by the three auctions of his small canvas Laugh Now But One Day We’ll Be in Charge (2000):
– on 15 October 2007 at Sotheby’s London for $342,000
– on 29 June 2017 at Bonhams London for $380,000
– on 18 June 2021 at Sotheby’s Hong Kong for $2,283,000
At 47 (his assumed age) Banksy is an international superstar, adored by the street art community and art market professionals alike, with 11 million followers on Instagram. But unlike many influencers, Banksy cares less about his personal image than about his art, which questions the future of our planet and Humanity as we know it.
Images:
Copyright 1987-2021 thierry Ehrmann www.artprice.com – www.artmarket.com
- Don’t hesitate to c ontact our E conometrics D epartment for your requirements regarding statistics and personalized studies: econometrics@artprice.com
- Try our services (free demo): https://www.artprice.com/demo
- Subscribe to our services: https://www.artprice.com/subscription
About Artmarket:
Will future generations consider Banksy the most important artist of the early 21st century? In any case, that’s what the $123 million hammered in the first half of 2021 suggests, giving Banksy 5th position in Artprice’s general ranking (all periods combined) just behind the giants Picasso, Basquiat, Warhol and Monet.
Whether we like it or not, a page in Art History is being written and it can no longer be seen as ‘just a fad’. After 25 years tackling universal issues (that are far from being resolved) by taking them into the streets and inviting them into our daily lives, Banksy’s highly topical works are today driving the growth of his market more than ever before.
Evolution of Banksy’s auction sales – Turnover vs. Lots sold
Left: Turnover from Banksy’s work by year of creation (2003 – S1 2021) – Right: Banksy © thierry Ehrmann – Courtesy of The Abode of Chaos
thierry Ehrmann, CEO and Founder of Artmarket.com and its Artprice department : “D emand for Banksy’s works has been growing exponentially for five years . I t is already too late for museums to hope to acquire original works at reasonable prices. But who could predict that this anonymous street artist, turning his back on the system, would become the most successful living artist on the Art Market? A few years ago, the Tate Modern apparently refused a donation from the artist … Since then, Banksy has become a genuine symbol, made stronger by each crisis (financial, health, etc.) that our world encounters . ”
Game Changer
Banksy’s work has pursued a tradition that began with Ernest Pignon-Ernest and Blek le Rat, but he brought the art of stenciling into the 21st century. Each new work discovered in the streets of Bristol or the ruins of Gaza or on the back door of the Bataclan in Paris or in the New York subway has been photographed, publicized, liked, shared, even appropriated … before being removed, as is still too often the case, by the city’s cleaning service, or, in some cases stolen.
A brilliant drawer and very clever with his locational choices and the diffusion of his works, Banksy has brought to life an oeuvre that is spectacular and rhizomatous in nature. Each new piece carries a message for everyone, regardless of our age, language or knowledge of art history.
Taken together, Banksy’s works have, for a quarter of a century, formed a gigantic fresco that depicts the sorrows and challenges of our society, both present and future: climate change, war, inequality, terrorism, etc. His work increasingly stands out as a political weapon via projects with an audacity unprecedented in art history: his ‘bemusement’ park Dismaland (2015), the Walled Off Hotel in Bethlehem (2017) and his migrant boat Rescue (2020), to name but a few.
While Banksy remains first and foremost a committed street artist who seeks a sort of perfect equilibrium in both space and time, his work has subsequently been made available practically ad infinitum. By reusing his stencils for several years on canvas or cardboard, by printing limited editions, by uploading photos to his Instagram account and by having his works reproduced on cups, magnets and key rings, Banksy has made his work omnipresent in our daily lives.
John Russo, Group CEO of Maddox Gallery: “When you consider the widespread and global acclaim that Banksy has achieved as an anonymous living artist, whose practice is an art form that for centuries has been considered vandalism, he’s single-handedly changed the face of contemporary art as we know it. This, combined with his engagement with current affairs and witty immortalization of public opinion has not only allowed him to capture the zeitgeist of our time, but also to open the gates of the contemporary art world to a new era of creatives.”
Compared with Beeple, whose digital works are followed daily by 2.2 million followers on Instagram and whose NFT Everdays fetched $69.3 million in March 2021, Banksy’s work actually responds to an extremely pressing demand for art that looks straight into the eyes of our present and sounds alarm bells for the future. Paradoxically, his work criticizes the very society that acclaims him. Highly cynical (Laugh now), his work nevertheless gives a preponderant place to tenderness (Flower thrower), humour (Che Guevara on Skates), hope (Girl with balloon) and it always seeks to surprise.
Happy Shopper
Banksy’s pieces are rarely sold on the primary market, except as a happening (in New York, Venice or on shop.grossdomesticproduct.com), but they circulate abundantly on the secondary market, whether in galleries, on the internet or in public auctions. More than 1,200 of his works were offered in auctions during the first semester of 2021, three-quarters of which found buyers (only 23% unsold).
Entire sessions are devoted to him at Sotheby’s, Christie’s, or Forum Auctions, covering all price ranges from original works at several million dollars and highly sought-after artist’s proofs to prints and sculptures in more or less limited editions, signed or unsigned. This intense transaction level is overseen by an authentication system set up by the artist himself, the ‘Pest Control Office’.
John Russo, Group CEO of Maddox Gallery:“The magic behind the story of Banksy is that he has achieved what every artist wants to achieve: success on the secondary market. With Banksy last releasing an edition in 2010, purchasing a Banksy on the primary market has been impossible for most collectors.
With Pest Control at hand, however, to authenticate works in circulation on the secondary marketplace, Banksy has engaged his followers in a simple game of economics. By drastically limiting the supply of his work, he’s driven up the value of the pieces in circulation, allowing his early followers the opportunity to realize an incredible return on their purchase.
For those that have purchased from a reputable gallery with a close working relationship with Pest Control, as we are proud to say that we have at Maddox, Banksy investors will have achieved a considerable profit in the past decade, with our own clients realizing an average profit of 42.6% in 2020 alone.”
I Can’t Believe You Morons Actually Buy This Shit
When Banksy has tried to undermine the very market that has elevated him to stardom (albeit anonymous), it has had the opposite effect: when his Girl with balloon (2006) partially self-destructed just after being hammered down for $1.4 million in 2018, its value is said to have risen substantially. This spectacular turn of events was so well orchestrated that some suspected collaboration between the artist and Sotheby’s: how could the shredder have escaped the prestigious auction house’s attention? Clearly Banksy doesn’t suffer too much from bad luck.
And yet… he is also capable of playing the market’s game when it is for ‘a good cause’. Earlier this year, he sold his canvas Game Changer (2020) in order to refinance Southampton hospital in the midst of the health crisis. The work fetched a record $21.9 million, i.e. 17% of his total auction turnover in the first semester of 2021.
In H1 2021, Banksy’s market was mainly split between the United Kingdom (64% of his auction turnover), the United States (15%) and Hong Kong (13%). This triangular market, more and more evenly distributed between the three major capitals of the global art market, fully contributes to the rise in the value of his works. This is perfectly illustrated by the three auctions of his small canvas Laugh Now But One Day We’ll Be in Charge (2000):
– on 15 October 2007 at Sotheby’s London for $342,000
– on 29 June 2017 at Bonhams London for $380,000
– on 18 June 2021 at Sotheby’s Hong Kong for $2,283,000
At 47 (his assumed age) Banksy is an international superstar, adored by the street art community and art market professionals alike, with 11 million followers on Instagram. But unlike many influencers, Banksy cares less about his personal image than about his art, which questions the future of our planet and Humanity as we know it.
Images:
Copyright 1987-2021 thierry Ehrmann www.artprice.com – www.artmarket.com
- Don’t hesitate to c ontact our E conometrics D epartment for your requirements regarding statistics and personalized studies: econometrics@artprice.com
- Try our services (free demo): https://www.artprice.com/demo
- Subscribe to our services: https://www.artprice.com/subscription
Artmarket.com: Artprice analyses the art market’s dazzling recovery from the health crisis in H1 2021, fortified by its digital transformation
In the first semester of 2021 the art auction market managed to recover all of its dynamism. If all goes well, the art fairs will resume in September. They will, however, have to contend with a substantially modified market characterised by the sensational arrival of NFTs and sky-high prices for works by very young and popular artists, both phenomena which suggest a strong urge to shake up the established order. While collectors seem to be in a hurry to invest in what might be called the “Art Market 2.0”, even if it means by-passing galleries, lots of artists also want to take advantage of the art market’s digital transformation, and… the auction houses appear keen to join in the ‘disruptive’ process.
Artprice indicators of the art market ‘s health (H1 2000 – H1 2021)
Auction turnover, Sold lots, Unsold rates and Highest price (first semesters)
According to thierry Ehrmann, President and Founder of Artmarket.com and its Artprice department “Two Art Markets are currently coexisting: one organic, the other disruptive . The first is traditional and takes into account the History of Art, with its codes, its museums, its galleries, its fairs, its biennials, etc. The second reflects a world undergoing a profound reorganization , challeng ing ‘ official history ‘ through movements like #metoo and #blacklivesmatter and clearly oriented towards the numerous political, climatic, health and technological challenges a head ”.
This analysis provides an overview of the transformations undertaken in H1 2021. The distinction between a “new” and an “old” art market is purely theoretical, but it allows us to apprehend the mechanisms now underlying a whole tranche of the market’s transactions. It also allows us to understand how Beeple’s The first 500 days (2021) could be purchased for $69 million against a starting price of just $100… an artist who wasn’t on the radar of any of the market’s key players: no gallery, no exhibitions and no auction results… but who had several million followers on Instagram and the support of Christie’s, one of the oldest and most respectable auction houses on the planet.
Fine Art auction turnover (H1 2000 – H1 2021)
(Broken down by creative periods)
Affordable works at the core of the newly – configured market
Fine art auctions generated $6.9 billion in H1 2021, up 3% versus H1 2019. This performance is extremely reassuring in view of the health crisis, which is still paralyzing whole segments of the cultural scene and is still the source of substantial near-term uncertainty. The auction operators nevertheless managed to generate a turnover equivalent to the average for the ten years before the health crisis (H1 2010 – H1 2019), i.e. since China’s rise on the international art market.
This latest recovery is all the more robust for being based on a record number of transactions: 288,500 artworks were sold in six months, up 5% versus H1 2019. The increase is particularly visible in the affordable segments covering price ranges between $1,000 and $20,000 where the number of lots sold rose 13%. The high-end market slowed somewhat in the first six months of the year: lots sold between $1 and 50 million contracted 1.4%, from 855 lots (in H1 2019) to 843 lots.
The intensity of demand has been confirmed by a significantly lower-than-usual unsold rate. This indicator, which reflects the balance between supply and demand, has fluctuated between 32% and 36% for the past decade. For the first six months of 2021 it was down to 28% and should therefore be watched carefully over the coming months.
Beeple accounted for 1% of the art market
Online sales are now an integral part of auction house strategies. At the start of the year, the Anglo-Saxon giants Christie ‘ s, Sotheby ‘ s and Phillips dematerialized a little more than half of their operations: out of 258 fine art sessions, 133 were conducted exclusively online. These transactions still only generated a tenth (9.3%) of the operators’ turnover as they mainly use this sales channel for entry-level and mid-range lots.
But the automated online platforms set up by the sales companies are, by nature, perfectly suited to NFTs, which have substantial potential in the high-end market. In fact, NFTs already represent a third of the value of online sales, or 2% of the global secondary art market in H1 2021. With his very first sale at Christie’s generating $69 million, Beeple alone accounted for exactly 1% of it!
This new market is at the heart of the disruptive phenomena identified by Artprice and it is indicative of the drive towards innovation within the auction industry. A month after the sale of Beeple’s work at Christie’s, Sotheby’s organised a sale of NFTs (Non-Fungible Tokens) titled The Fungible Collection by Pak. Ten days later, Phillips offered the first second-generation NFT, a work called Replicator by Mad Dog Jones, which is designed to randomly generate replicas of itself.
Contemporary art out-performs Post-War art
The Contemporary art segment (artists born after 1945) posted a historic performance in H1 2021, up 50% versus H1 2019. The Modern art (-8%) and Post-War (-4%) segments have not yet returned to the levels of intensity that prevailed before the health crisis.
This situation has enhanced the visibility of Contemporary Art, which now accounts for 23% of global fine art auction turnover compared with just 3% twenty years ago. Having generated over $300 million (double Andy Warhol’s total), Jean-Michel Basquiat alone accounted for 4.3% of the global art auction market in H1 2021.
Top 10 artists on the global auction market in H1 2021
© artprice.com
- Pablo PICASSO (Modern Art): $352,169,000
- Jean-Michel BASQUIAT (Contemporary Art): $303,537,000
- Andy WARHOL (Post-War): $ 149,982,000
- Claude MONET (19th century): $131,638,000
- BANKSY (Contemporary Art): $123,328,000
- ZAO Wou-Ki (Modern Art): $114,518,000
- Gerhard RICHTER (Post-War): $97,920,000
- Sandro BOTTICELLI (Former Master ): $94,206,000
- Yoshitomo NARA (Contemporary Art): $85,937,000
- ZHANG Daqian (Modern Art): $82,295,000
Banksy, a sign of the times
At 47, the anonymous street artist Banksy is one of the five most successful signatures on the global art auction market, all creative periods combined! He is even the most lucrative living artist on the planet, and, without the support of either Larry Gagosian or David Zwirner! Universally adored for his poetic and cynical incursions into public spaces, Banksy is revolutionizing the art market with his Pest Control system that allows him to authenticate and control the circulation of hundreds of thousands of unique or limited editions works.
For five years, Banksy’s auction turnover has been growing exponentially: $3 million in 2016, $7 million in 2017, $16 million in 2018, $29 million in 2019, $67 million in 2020 and $123 million in H1 2021. With 913 lots sold at auction in just six months, Banksy now covers all price ranges. With 11 million followers on Instagram, he is already reaching future generations of collectors.
On 23 March 2021, his canvas Game Changer (2020) buried Christie’s estimate at a charity sale and set a new auction record at $23.2 million. The enthusiasm surrounding this work reveals the preferences of an art market in search of shocking works, in tune with current events. The work depicts a young boy abandoning his Batman and his Superman to play with a ‘super-nurse’ doll.
The Hong Kong accelerator
Halted in its growth in 2020, the Hong Kong art market has posted two consecutive semesters stronger than ever. The city is now posting the world’s highest average price for artworks sold at auction: with a total of $962 million hammered from only 3,200 fine art lots sold in H1, the average price is around $300,000. This statistic sets Hong Kong apart from the other major art market capitals since the average price is just $32,000 in London and $41,000 in New York.
Hong Kong also managed to attract three remarkable paintings by Jean-Michel Basquiat which each fetched over $35 million. Both Christie’s and Sotheby’s now seem convinced that these masterpieces of American Contemporary Art (which New York’s MoMA regrets not having acquired when they were much more affordable) will sell for better prices in Asia than in London.
In the medium term, Hong Kong could even become the second largest market in the world ahead of the UK, which totaled $1.2 billion in H1 2021 (only 21% more than Hong Kong’s $962 million). Ten years ago, the UK’s secondary art market was nearly five times larger than its former colony (+380%). However, the UK retains a much more diversified art market: in H1 2021, it sold 36,000 works, ten times more than Hong Kong.
Today, the former British colony is essentially playing an accelerator role for the ultra-contemporary art market with Hong Kong buyers showing a greater willingness to bid substantially above estimates, forcing London and New York auctioneers to align their prices with Hong Kong’s results, or risk seeing the works of future art market superstars all sold through Asia.
Artists under 40 generating 7-digit results
Since his death less than two years ago, 62 works by Matthew Wong (1984-2019) have been auctioned in New York, London and Hong Kong.
The ‘international rachet mechanism’ that has affected the prices of this artist’s creations can be seen at work in the prices of other superstars of his generation, born after 1980. The ascensions of artists like Salman Toor, Avery Singer and Amoako Boafo have been incredibly swift. Within a matter of months their works have become simply unavoidable on the international art market. Highly gifted and appearing to be highly emblematic of our era, their works have have been subject to fiercely competitive demand from American, European and Asian collectors at the same time.
Top 5 artists born after 1980 (H1 2021): geographical breakdown of auction turnover
1. Matthew Wong, $30 million: Hong Kong (44%), New York (37%), London (19%)
2. Avery Singer, $10.5 million : Hong Kong (53%), New York (38%), London (8%)
3. Salman Toor, $7.9 million: New York (45%), London (28%), Hong Kong (27%)
4. Ayako Rokkaku, $7.2 million: Hong Kong (40%), Tokyo (35%), Taipei (11%)
5. Amoako Boafo, $5 million: London (35%), New York (33%), Hong Kong (32%)
As we can see above, the sales of works by Japanese artist Ayako Rokkaku (b. 1982) have not followed this schema. Her colorful acrylics on canvas are circulating with substantial intensity in Southeast Asia where 44 of his paintings were auctioned in H1 2021 for an average price of $170,000. Her best works, initially put into circulation by the Amsterdam-based Delaive gallery, almost always end up at auction in Asia.
Blue-chip artists still holding strong
In New York, Pablo Picasso’s Woman Seated by the Window (1932) crossed the $100 million threshold for the first time in 24 months. This result confirms the renewed confidence of both buyers and sellers. The exponential rise in the value of Picasso’s works over the last quarter-century has crystallized, despite the sequence of financial and health crises. The value of this painting evolved from $7.5 million in 1997 to $45 million in 2013, finally reaching $103.4 million this year.
The year 2021 also started very well on New York’s high-end market with the eagerly awaited sale (at the end of January) of a portrait attributed to Sandro Botticelli. Fetching just over $92 million, this was the second best auction result ever recorded for an Old Master behind Leonardo da Vinci’s Salvatore Mundi. However, more than three and a half years after its sale, the $450 million payed in November 2017 for the portrait of Christ holding a crystal orb has become subject to a growing number of questions.
The first six months of 2021 also saw the sale of several Impressionist masterpieces (by Monet, Van Gogh and Cézanne,) as well as a number of masterpieces of American Abstraction and Lyrical Abstraction (by Twombly, Rothko and Chu Teh-Chun, among others). There were also some very famous portraits (Warhol’s Double Elvis and Lucien Freud’s David Hockney). But the period will remain above all marked by the first sales of NFTs and the extraordinary price records for very young artists that Artprice will analyze in detail in its upcoming Contemporary Art Market Report, to be published on the occasion of the Frieze and FIAC art fairs in October.
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Artmarket.com: A Q1 as strong as before the Covid crisis, but Artprice identifies five big changes
With $1.6 billion hammered around the world in fine art auctions during the 1st quarter of 2021, the art market may look like it has already returned to a “normal” rhythm. True, the Q1 total is exactly the average Q1 total over the ten Q1 periods preceding the health crisis (2010 – 2019). But this impression, based on auction turnover alone, hides a very different situation from that which prevailed two years ago.
Q1 fine art auction turnover since 2000
Fine art lots sold and unsold in Q1 auctions since 2000
thierry Ehrmann, President and Founder of Artmarket.com and its Artprice department, acknowledges that “it is still a little early to disentangle the effects of each of the powerful factors currently shaking the art market: Covid, Brexit, NFTs, etc. But their consequences are already visible”.
Artprice is therefore redoubling its efforts to ensure continuous monitoring of the market’s most sensitive indicators and keep a close eye on its overall health. Artprice wishes to share the conclusions of its econometrics department in order to contribute to the market’s transparency.
1. A record number of transactions
Despite the logistical complications linked to the health crisis, fine art auction transactions have never been as numerous as in Q1 2021. In total, 112,200 lots were sold around the world, i.e. 6% more than in Q1 2019 (105,600 lots sold). The digital transition undertaken by the major auction houses has enabled the emergence of an online market that is particularly suited to the middle market.
2. A declining unsold rate
An key indicator of the balance between supply and demand in the market, the unsold rate varied only very slightly over the period 2010-2019, fluctuating between 31% and 34%. In other words, the art market has become accustomed to seeing a third of the lots offered for auction fail to reach their reserve prices. But in Q1 2021, only one in four sales (25%) failed: demand is therefore increasing a little faster than supply!
3. A gradual geographic rebalancing
Q1 turnover figures are usually dominated by London, which hosts the first prestige sales of the year. In 2021 the agenda had to be postponed by several weeks but nevertheless went ahead. However, the dominance of the UK capital appears weakened: London accounted for 37% of global sales revenue in Q1 2021 versus 48% in Q1 2019. New York, which managed to generate 27% of the global turnover in the first three months of the year, appears to be the main beneficiary.
4. The NFT revolution
The sale of Beeple’s NFT Everydays marked the start of a possible revolution on the art market. The work was purchased for $69 million in a Christie’s online auction using the Ether cryptocurrency. Indeed, this new market appears to have become even more ‘intangible’ since Sotheby’s generated $16.8 million by selling “The Fungible Collection”, a digital work offered online in unlimited quantities and created by the anonymous and mysterious Pak.
5. Red-chips dethrone blue-chips
Since the end of 2020, art auctions around the world have hammered some surprising results for extremely recent works. Journalist Scott Reyburn (in The Art Newspaper) cites, as an example, Christie’s “20th Century: Hong Kong to New York” sale on 2 December 2020 and says he was surprised to see Dana Schutz’s canvas Elevator (2017) fetch $6.5 million and Andy Warhol’s “classic” Campbell’s Soup Can (1962) sell for just $6.1 million (especially as the latter reached $7.4 million in 2014). Reyburn concludes that the arrival of new collectors, in search of the latest novelties (“red-chips”) is overtaking the desire to possess “blue-chip” artworks.
www.theartnewspaper.com/analysis/the-rush-for-red-chip-art
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Artmarket.com fosters art market transparency via Artprice subscriptions
Somewhat counter-intuitively, the dematerialization of auctions has not greatly improved the transparency of the secondary art market. For sure, it has never been easier to bid for a work of art, but the information required to appreciate the full quality of a piece and to accurately gauge its value is no more precise in the sales catalogs than it was before.
In some cases, it is also no longer possible to have any real contact with a given lot before it goes under the hammer. Artprice is therefore redoubling its efforts to offer a complete range of tools that allow its members to follow all the works put up for auction and fully understand the evolution of their prices.
Price Index for Christopher Wool – Base 100 in January 2000
Artprice: the world leader in Art Market information
“Online sales have not yet completely proven their credentials” says thierry Ehrmann, President and Founder of Artmarket.com and its Artprice Department. “There are still some traces of mistrust regarding the quality of the lots included in online-only sessions. Notably, there are rumours that estimates are not exceeded as often as in live sales. In any case, the results for 2020 show all the market’s indicators positive territory. Even the most sensitive of them, the unsold rate, has remained perfectly stable”.
Still too early to draw conclusions…
The high-end market has been particularly slow over the past twelve months. For example, Jeff Koons’ annual turnover dropped 97% in 2020. Very few of his major pieces were consigned for sale during the year, and the two that were (with the highest estimates) failed to sell during live (“normal”) sessions. Clearly, owners of Jeff Koons’ works believe it is better to wait.
As William Baumol discussed in his 1986 article Unnatural Value, a sort of monopoly exists for each and every work of art. Owning a single work, or one produced in very few copies, necessarily introduces a form of information asymmetry. Fortunately, this asymmetry can be reduced by having an objective and reliable source of information, such as the one offered by Artmarket.com via its Artprice subscriptions. Its databases systematically list (i.e without any bias or preference) all public auctions of works of art and this enhances clarity regarding the price construction process.
Two types of essential information
Auctions constitute the sector of the art market that is considered the most transparent since lot descriptions as well as the results must be made public. However, not all relevant information is always presented in a catalog, such as, for example, the identity of the former owners of a work. Moreover, the websites of auction operators – even those of the major houses – make it very difficult to search for information on past sales of similar works.
The notion of market “transparency” suggests primarily two types of additional information which must be easily accessible: the characteristics of all the products, but also, for each product, the quantities offered and sought after.
The advantage of the services offered by Artprice subscriptions is that they are based on an exhaustive and structured collection of all the results of public auctions around the world. Our standardization of the main characteristics of artworks – dimensions, year of creation, auction estimates, references to catalogues raisonnés, etc. – makes it easy to identify those that match your precise search criteria.
Because the number of results can be very high, Artprice makes available to its subscribers (Advanced and Professional) a complete set of interactive statistics for each artist. These provide a global and essential overview of past sales that includes chronological price evolution, geographical distribution and breakdowns by price range and category (medium).
Better fluidity… but not better transparency
The digitization of sales catalogs and the proliferation of auction platforms have certainly improved the fluidity of the art market. But transaction costs have not fallen… they have actually risen. Moreover, the information disclosed by Auction Houses is not more detailed. Artprice has however noticed one exception: certain operators have taken to indicating number of bids recorded on each lot during an online sale, thereby providing an additional measure of the market’s appetite.
In order to remain independent, Artprice has decided not to allow bidding directly on its platform, preferring to provide direct links to the websites of partner Auction Houses. Artmarket.com and Artprice are therefore more than ever putting everything in place to provide additional services to those offered by the Auction Houses, by providing all players in the art market with a reliable and impartial information platform.
Artprice wants to ensure that all its subscribers get unlimited consultation of all past sales results (including those catalogued in the Enrique Mayer publications since 1962 and those in Hippolyte Mireur’s famous Dictionary of Art Sales (1700-1900)) and to all future sales, and to all available decision-making tools.
[https://imgpublic.artprice.com/img/wp/sites/11/2021/02/2-artmarket-artprice-transparency.jpg]
Copyright 1987-2021 thierry Ehrmann www.artprice.com – www.artmarket.com
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Artprice by Artmarket’s 2019 Annual Art Market Report shows continued growth with an all-time record number of transactions based on global confidence in the market, and the French market was particularly strong in 2019
Artprice by Artmarket’s 2019 Annual Art Market Report shows continued growth with a all-time record number of transactions based on global confidence
Artprice by Artmarket’s 2019 Annual Art Market Report shows continued growth with a all-time record number of transactions based on global confidence in the market, and the French market was particularly strong in 2019.
Fruit of the alliance between Artprice by Artmarket.com, world leader in Art Market information (founded and directed by thierry Ehrmann), and Artron, its powerful Chinese institutional partner (directed by Wan Jie), our 22nd Annual Art Market Report allows a global view of public Fine Art sales of paintings, sculptures, drawings, photography, prints and installations from 1 January 2019 to 31 December 2019.
Claude Monet – Haystacks (1890)
thierry Ehrmann: “Today’s Art Market is exceptionally mature, capable of withstanding political instabilities, as both London and Hong Kong’s results have shown. China, which hardly existed on the global Art Market in 2000, now generates almost a third of its total value.”
22nd Annual Report by Artprice by Artmarket
This report contains the famous Artprice ranking of the Top 500 best-selling artists on the global fine art auction market and the Top 100 auction results. It also contains an analysis of the global Art Market from a geographical perspective (by country and by major city), a breakdown by historical periods and by artistic media, a selection of crucial Artprice market indices and 8 key chapters providing an uncompromising analysis of today’s global Art Market. No other entity is currently capable of generating such high quality macro- and micro-economic metadata based on proprietary Big Data and AI algorithms.
This 22nd Annual Report on the Global Art Market is distributed worldwide exclusively by Artprice by ArtMarket and Cision, which together have created the first international press agency dedicated to Art Market information: Artpress agency®, which belongs to Artmarket.com, is the global leader in art market information.
Read this 22nd Global Annual Art Market Report for free:
https://www.artprice.com/artprice-reports/the-art-market-in-2019
Confident and stable growth, with a record number of transactions worldwide
The Art market has continued to deepen with a record 550,000 fine art lots sold via auctions around the world in 2019, generating a total of $13.3 billion. This was the highest annual number of lots sold since 1945… creating the deepest and broadest public art market ever recorded.
Driven by a healthy combination of investment logic, speculative buying, passion collecting and insatiable demand for major signatures from the world’s new museums, the global Art Market posted a buoyant level of activity in 2019 with a record number of 550,000 transactions worldwide.
The drivers of this growth are ease of access to Art Market information, electronic sales (99% 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 after WWII to 120 million in 2019) and the extension of the market to the entire Asia/Pacific area, plus India, South Africa, the Middle East and South America.
In terms of turnover, the global Art Market posted a contraction of -14% mainly due to a dearth of masterpieces above the $50 million threshold; however, the unsold rate remained perfectly stable at 38%, as did the overall art price index, which only changed +0.48%.
Remember the “unsold rate” has been closely watched for 120 years as it quickly indicates when a market is moving into speculative mode (below 20%) or into a meltdown of confidence mode (over 60%). According to the famous Art Market sociologist Raymonde Moulin, the current rate of 38% is close to the “ideal” unsold rate.
The strength of the Art Market is related to its unparalleled level of selectivity, very much reflecting Artprice’s dictum “Buy the right work, from the right period, with a good story, by the right artist, at the right time.”
Over 20 years, the Art Market has experienced very substantial growth
An efficient, liquid and transparent Art Market that resembles financial markets.
In a world where many countries are posting quarterly economic growth rates well below 1%, the Art Market has once again confirmed its efficiency, liquidity and transparency… just like a financial market. The key growth figure bear witness to this evolution:
– the Art Market’s total auction turnover has grown fourfold since 2000, from $3.2 billion to $13.3 billion in 2019
– the number of lots sold has doubled over the same period from 272,000 lots sold in 2000 to 550,000 sold in 2019.
Our Artprice100® (a global index covering all historical periods of creation combined: i.e. Old Masters, the Modern period and the Post-War/Contemporary periods) showed a +396% increase in value between 1 January 2000 and 31 December 2019.
While the Central Banks – and notably the ECB – are maintaining close to zero or even negative base interest rates, the Art Market is posting frankly insolent health and our Artprice100® virtual index (covering all historical periods of creation combined) is currently posting a +396% increase since 2000.
The Internet (Microsoft estimates over 6.3 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. Of the world’s 6,300 auction houses, 99% are today present on the Internet (versus just 3% in 2005).
France joins the quartet of major Art Market powers
France posted the best performance in its auction history, raising its auction turnover +18%. With a total of $830 million in 2019, it substantially upgraded its fourth place in the ranking of major Art Market powers. However, it still has a long way to catch up with the 3rd-placed UK, which posted an annual auction turnover total on fine art 2.5 times higher.
thierry Ehrmann: “If Eric Turquin’s Caravaggio had sold at auction, as planned, and not privately two days before its scheduled auction in Toulouse, France’s annual turnover total would have been close to $1 billion in 2019”.
Nevertheless, France’s fine art auction strength is essentially its core high-volume backbone. With 82,000 fine art lots sold in 2019, France represented the second largest market in the world, behind the United States (99,000 lots sold), but ahead of the UK (70,000) and China (66,000).
France can today congratulate itself on having the strongest auction house in Europe: Artcurial, which now ranks 11th in the world by annual turnover.
General overview of 2019
The global Art Market generated $13.32 billion, down -14% mainly due to a drop in the number of ultra-high value masterpieces offered (worth > $50 million)
The number of lots sold worldwide reached a new historical high of 550,000
The average lot price in 2019 reached $24,300
The median lot price was $940
Approximately 90% of all lots sold fetched less than $17,000
The unsold rate remained stable at 38% (slightly more than a third)
The overall price index remained stable at +0.48%
The Contemporary art price index was up +4.44%
Financial performances
Repeat sales* show an average annual return varying between +5.5% and +8.2% since 2000
Works purchased between $200,000 and $1 million generate the strongest annual return: +8.2% since 2000
* The same work bought at auction and sold at auction in 2019
Soft Power
The United States ($4.6 billion) outperformed China ($4.1 billion) and the UK ($2.2 billion)
China suffered a milder correction (-9%) than the United States (-22%) and the UK (-21%)
The top three powers on the Art Market accounted for 82% of global fine art auction turnover
France was the only major power to post positive growth: +18%
Auction houses
Christie’s and Sotheby’s together hammered 54% of the global art auction market: $3.65 billion and $3.59 billion respectively
Five Chinese auction houses ranked in the Top 10 worldwide
Phillips confirmed its excellent 2018 results with its second best-ever annual total, despite an -11% contraction
Artcurial ranked 11th in the world becoming the leading European auction house
Artists and record results
In 2019 there was only one auction result above $100 million (compared with two in 2018).
Claude Monet’s Haystacks (Meules) (1890) peaked the market at $110.7 million.
Its value was multiplied by 44 since its previous auction in 1986.
Claude Monet arrived second in the general classification by annual auction turnover, below Pablo Picasso and above Zao Wou-Ki.
Jeff Koons recovered the title of “most valued living artist in the world” when his Rabbit (1986) fetched $91.1 million
Gerhard Richter and David Hockney were the world’s best-selling living artists, each with annual totals of $130 million in 2019.
Three main trends
1. Street Art is increasingly present on auction podiums, with its own stars: Kaws and Banksy. Lots of other street artists are moving up the sales rankings including Invader, Stik, Shepard Fairey and Vhils.
2. African-American and African-origin artists are recovering their rightful places in art history and in the market. Kerry James Marshall climbed to 55th place in Artprice’s general ranking.
3. Christie’s HI-LITE sale in Hong Kong put a name on the first major art movement of the 21st century.
The Museum Industry® is a global economic reality in the 21st century that represents the driving force behind 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.
Demand for museum-quality works is one of the key factors in the spectacular growth of the Art Market. The Art Market is now both mature and liquid.
Copyright 1987-2020 thierry Ehrmann www.artprice.com – www.artmarket.com
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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 ©:
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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 2019 Global Art Market Report published in February 2020 :
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Artprice by ArtMarket.com: How to objectively define Contemporary Art in 2020?
For the sake of coherence, clarity and transparency, Artprice’s editorial team has always divided Art History into five main periods with artworks being classified according to a simple and indisputable criterion… the birth year of their creators:
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‘Old Masters’ … artists born up until 1760
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‘19th century’ … artists born from 1760 to 1860
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‘Modern’ … artists born from 1860 to1920
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‘Post-War’ … artists born between 1920 and 1945
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‘Contemporary’ … artists born after 1945
2019 Contemporary Art auction turnover filtered by year of birth
As time advances, the period we refer to as ‘Contemporary Art’ is getting longer. It now covers artists as diverse as Jean-Michel Basquiat (1960-1988) and Oscar Murillo (b. 1986), Anselm Kiefer (b. 1945) and Kaws (b. 1974), Martin Kippenberger (1953-1997) and Cory Arcangel (b. 1978). On the other hand, our classification excludes Gerhard Richter (b. 1932), David Hockney (b. 1937) and El Anatsui (b. 1944).
According to thierry Ehrmann, Artprice’s founder and CEO of ArtMarket.com: “An objective ‘periodization’ of Art History helps us to study the market, its structure and its evolution, even if it means distinguishing – far too categorically sometimes – what is Contemporary from what is not. But the fact that Maurizio Cattelan generates thousands more Instagram posts than Marcel Duchamp and that a work by Kaws is suddenly as expensive as the best paintings by Pierre Soulages naturally raises numerous questions about the trends and contradictions that drive the Art Market, but also about the very notion of Contemporary art.”
In art, ‘Contemporary’ doesn’t mean ‘alive today’…
How should we label the œuvres of Yayoi Kusama (b. 1929) or of Pierre Soulages (who has just celebrated his 100th birthday)? Although their careers began shortly after WWII, Kusama and Soulages produced some of their best works long after the deaths of Keith Haring and Jean-Michel Basquiat… And yet, on the Art Market, Kusama’s and Soulages’s prices are growing gradually whereas those of Jean-Michel Basquiat, for example, are still posting substantial volatility.
Perhaps we should see Contemporary art quite simply as art that has not yet become perfectly established. That’s the fundamental difference between Marcel Duchamp and Maurizio Cattelan, between Duchamp’s Fontaine (1919) et Cattelan’s Comedian (2019). Whereas Duchamp’s famous urinal remains controversial, few question its place in Art History, whereas Cattelan’s banana taped to the wall still has a long way to go before it is accepted.
This distinction remains ambiguous for certain artists. Look at Jeff Koons – there is a good chance today his work will be seen as having singularly marked the latter decades of the 20th century and his Rabbit (1986) sculpture is clearly already considered a kind of ‘classic’. However, his creations are still causing serious controversy and his approach to art has not yet been fully accepted. The recent Appeal Court ruling that Koons plagiarized the work of a French photographer in his work Naked (1988) is just the latest in a series of obstacles the American artist has faced.
Our birth-year analysis (based on 2019 results) throws up three exceptional dates… 1955, 1960 and 1974.
Born on the East coast of the United States exactly 10 years after WWII, Jeff Koons and Christopher Wool make 1955 the best ‘vintage’ in our Contemporary Art results ranking filtered by year-of-birth. Neither have ever represented the USA at the Venice Biennale, but their works have been acquired by major American museums for decades. Two other artists also made a significant contribution to the results of the 1955 vintage: Kerry James Marshall (born in Alabama), who has ranked among the world’s Top 100 artists by annual auction turnover (all periods combined) over the past two years, and the Chinese artist, Zhou Chunya.
With an annual auction total of $129 million in 2019, Jean-Michel Basquiat still dominates the Contemporary Art Market. Almost alone, he made 1960 one of the best ‘vintages’ of the second half of the 20th century. Glenn Ligon, the second best performing artist born in 1960, contributed only $1.9 million.
Curiously, the new stars of Street Art, Kaws and Banksy, were both born in 1974, on either side of the Atlantic… Kaws in Jersey City in the USA, and Banksy in Bristol, England.
So, despite its lack of flexibility and its limitations, the historical classification adopted by Artprice remains coherent with the auction results recorded in 2019 (filtered by birth-year). If a new start date were to be chosen for the ‘Contemporary’ category, it could be argued that the year 1965 would be a logical separation date. However, the continuing market volatility on works by several major artists born during the 20 years prior to 1965 – Albert Oehlen (b. 1954), Rudolf Stingel (b. 1956), Zhang Xiaogang (b. 1958) and Damien Hirst (b. 1965) – suggests that their positions in Art History are still not yet fully established.
Copyright 1987-2020 thierry Ehrmann www.artprice.com – www.artmarket.com
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/ (4.7 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)
Contact Artmarket.com and its Artprice department
Contact: ir@artmarket.com
Artprice100 by ArtMarket.com: our “blue chip” artists index outperforms the S&P 500 over the long term and posts a 3.3% increase for 2019
American stock markets have been super buoyant this year: the S&P 500 started the year at 2,510 points and reached 3,190 points this Tuesday, 17 December 2019. That’s a 26.2% increase over 12 months… adding more than a quarter to this fundamental index’s historical value.
Over the same period, the value of artworks by “blue chip” artists in the Art Market rose just 3.3%… a much more moderate growth rate than that of the S&P 500, but still positive, and resulting from two totally different semesters in terms of the circulation of works.
Artprice100© vs S&P 500 since 2000
thierry Ehrmann, founder of Artprice and CEO of ArtMarket.com: “The artists in our Artprice100 © index represent the base of the global Art Market: a particularly robust base that continues to grow, but which is not the best performing segment of the Art Market this year. The Modern artists who usually dominate this index, let other signatures take the limelight in the second half of the year. Inst’t the fact that Robert Rauschenberg, Ed Ruscha, Cimabue and Kaws stole the show from the likes of Picasso and Modigliani an excellent reason to celebrate?”
A second semester very different from the first
The first half of the year was marked by superb auction records in New York, London and Hong Kong. These records boosted the prices of several key artists who have been present in our Artprice100© for a long time, like Claude Monet, Paul Cézanne, Andy Warhol and Jeff Koons, and they actually stimulated the appetite of collectors for works by major signatures. By the end of the first semester the Artprice100© was showing a 16% increase, more or less in line with the progression of the S&P 500, up 18%.
In the second half of 2019, the secondary market supply of masterpieces was much less abundant, as we saw in the case of Pablo Picasso for example. The brilliant Spanish painter, who alone accounts for 9.1% of the Artprice100©’s composition, posted a drop of around –8% in the price of his works. But the slowdown was not so much due to his 2019 performance, in line with his average, but rather to the exceptional results hammered the previous year. In 2018 Pablo Picasso’s auction turnover broke all records, with $745 million hammered worldwide. Whereas 13 of his works fetched over $10 million last year, ‘only’ five reached the 8-digit threshold in 2019, and only one in the second half.
Considering Picasso’s weight in the Artprice100© index, it would have taken lots of other positive annual performances by other artists in the index to offset the slowdown in his market.
Post-War and Contemporary Art on a firm footing
The sale of Ed Ruscha’s painting Hurting the Word Radio # 2 (1964) on 13 November 2019 contributed to raising Ed Ruscha’s price index by 11% this year. But weighing just 0.6% in the composition of our Artprice100©, that good performance had only a small impact on our portfolio. Similarly, the performances of Nicolas de Staël and Albert Oelhen (each weighing less than 0.2%) contributed only very modestly to the growth of the Artprice100©.
Unfortunately, the best auction records of the second half of 2019 had little or no impact on the index since the new stars of the market – starting with Kaws and Banksy – have not yet joined its composition. Likewise for the exceptional Old Master results that rocked French auction rooms in the second half of the year: Cimabue, the Master of Vyšší Brod, and Artemisia Gentileschi… artists whose works are obviously far too rare on the market to be considered “blue-chip” artists.
Indeed, it is extremely encouraging to note that in a slow period, when masterpieces by the Art Market’s major signatures are scarce, the Artprice100© index continues to progress.
This represents another quality of this index, in addition to that – even more important – of its resilience to financial crises. During the subprime crisis, following the collapse of Lehman Brothers in 2008, the S&P 500 posted major losses whereas the Artprice100© lost only a quarter of its value.
Fortunately, 2020 is already looking a lot stronger for the high-end Art Market. The dispersion of the Macklowe collection, in particular, should benefit ‘blue-chip’ artists and the Artprice100©.
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://www.facebook.com/the.demeure.du.chaos.theabodeofchaos999
Contact Artmarket.com and its Artprice department
Contact: ir@artmarket.com
Artprice100 by ArtMarket.com : L’indice de référence des artistes « blue chip » surperforme le S&P500 sur le long terme et enregistre une hausse de +3,3 % en 2019
Les marchés boursiers américains ont fait preuve d’une santé prodigieuse cette année : la valeur du S&P500, qui atteignait 2 510 pts au premier jour de l’an, grimpe jusqu’à 3 190 pts ce mardi 17 décembre. C’est une croissance de +26,2 % sur 12 mois, soit plus d’un quart de la valeur historique de cet indice fondamental.
Sur la même période, le prix des œuvres des artistes « blue chip » du Marché de l’Art enregistrent une progression de +3,3 %. Une croissance beaucoup plus modérée que celle du S&P500 mais toujours positive, qui résulte de deux semestres totalement différents en termes de circulation des oeuvres.
Artprice100© vs S&P 500 depuis 2000
thierry Ehrmann, fondateur d’Artprice et président d’ArtMarket.com : « Les artistes qui composent notre indice Artprice100© forment le véritable socle du Marché de l’Art : un socle particulièrement robuste et qui poursuit sa croissance, mais qui ne forme pas cette année la partie la plus performante du Marché de l’Art. Les artistes modernes, qui dominent cet indice, ont laissé d’autres signatures briller au second semestre. Mais comment ne pas se réjouir que les performances de Robert Rauschenberg, Ed Ruscha, Cimabue ou Kaws volent la vedette à Picasso et Modigliani pour changer ? »
Un second semestre très différent du premier
La première moitié de l’année a été marquée par des records saisissants à New York, Londres, Hong Kong… Des records qui ont fait grimper la cote de plusieurs artistes phares, entrés depuis bien longtemps dans la composition de l’Artprice100©, tels que Claude Monet, Paul Cézanne, Andy Warhol ou encore Jeff Koons. Ces résultats ont eux-même eu comme effet de stimuler l’appétit des collectionneurs pour les grandes signatures. Ainsi à la fin du premier semestre, l’Artprice100© affichait une hausse de +16 % et était capable de suivre la progression du S&P500, en hausse de +18 %.
Seulement les chefs-d’œuvre ont été moins abondants en salles de ventes sur la seconde moitié de l’année 2019, comme le montrent par exemple les résultats de Pablo Picasso. Le génial peintre espagnol, qui pèse à lui seul 9,1 % de la composition de l’Artprice100©, a enregistré une baisse de l’ordre de -8 % du prix de ses œuvres. Mais le ralentissement n’est pas tant attribuable à ses performances 2019, fidèles à sa moyenne, qu’à celles tout à fait exceptionnelles enregistrées pour l’exercice précédent. Le produit de ventes de Pablo Picasso avait en effet battu tous les records en 2018, avec 745 m$ engrangés dans le monde. Alors que treize de ses œuvres avaient dépassé les 10 m$ l’an dernier, 5 « seulement » y sont parvenues en 2019. Dont une seule au second semestre.
Or, il faut de beaucoup d’autres belles performances pour contrebalancer le ralentissement d’une signature aussi influente que celle de Picasso dans l’Artprice100©.
L’Art d’Après-Guerre et l’Art Contemporain s’affirment
La vente de la toile Hurting the Word Radio #2 (1964) a contribué, le 13 novembre 2019, à faire monter la cote d’Ed Ruscha, +11 % cette année. Mais le poids de cet artiste n’atteint que 0,6 % dans la composition de l’Artprice100©, si bien que cette très belle performance n’a finalement qu’un effet relativement faible sur notre portefeuille. De même, les performances de Nicolas de Staël et d’Albert Oelhen (moins de 0,2 % chacun) ne contribuent que très modestement à l’essor de l’Artprice100©.
Malheureusement, les plus beaux records du second semestre 2019 n’ont pas particulièrement profité à cet indice, puisque les nouvelles stars du marché – à commencer par Kaws et Banksy – n’ont pas encore intégré sa composition. Et que dire des enchères exceptionnelles pour les Maîtres Anciens qui ont enflammé les salles de ventes françaises au second semestre ? Cimabue, le Maître de Vyšší Brod, Artemisia Gentileschi, dont les œuvres beaucoup trop rares en salles de ventes ne permettent pas de considérer leurs auteurs comme des blue-chips du Marché de l’Art.
Il est extrêmement encourageant de constater qu’en période creuse, quand les œuvres maîtresses des grandes signatures du Marché de l’Art se font rares, l’indice Artprice100© continue de progresser.
C’est une autre qualité de cet indice, qui s’ajoute à celle – plus importante encore – de sa résilience face aux crises financières. Alors que le S&P500 avait sombré pendant la crise des subprimes, à la suite de la faillite de la banque Lehman Brothers en 2008, l’Artprice100© n’avait perdu qu’un quart de sa valeur.
Heureusement, 2020 est pressentie comme une année beaucoup plus riche sur le Marché de l’Art haut de gamme. La dispersion de la collection Macklowe, notamment, devrait profiter aux artistes blue-chips et à l’Artprice100©.
Copyright 1987-2019 thierry Ehrmann www.artprice.com – www.artmarket.com
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’
Copyright 1987-2019 thierry Ehrmann www.artprice.com – www.artmarket.com
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
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
Mise au point d’Artmarket.com sur l’abus de marché de son cours de bourse : tous les fondamentaux sont excellents.
Personne n’est dupe. Artmarket.com en prenant connaissance à 18h chaque jour des relevés officiels Euronext constate la présence quasi permanente d’une même banque et sa filiale UK en tête non seulement des ventes mais dans des proportions non conformes au règlement AMF.
Cette même banque laisse impunément ses réseaux sociaux diffuser des fake news (délit de fausses informations) au sujet d’artmarket.com s’inscrivant ainsi dans des manœuvres sanctionnées pénalement par le code monétaire et financier.
Artmarket.com et son département Artprice, suite à de multiples demandes d’actionnaires sur la baisse du cours de bourse, tiennent à réaffirmer sereinement que tous les fondamentaux économiques, la croissance organique, le déploiement de nouveaux services et produits payants ainsi que la hausse significative de l’offre tarifaire de l’ensemble des abonnements et services, connaissent tous une forte croissance pour ce T4 2019.
Il suffit de consulter le communiqué du T3 2019 avec un CA en hausse de +17%.
Artmarket est effectivement une dénomination sociale à très forte valeur ajoutée par son DNS à caractère générique et surtout consensuel pour accompagner le Marché de l’Art dans le numérique avec la Blockchain, l’Intelligence Artificielle et le Big Data. Les premiers résultats sont attendus dès le début 2020. Voir communiqué du 27/11/2019 : https://www.actusnews.com/fr/ARTPRICE/cp/2019/11/27/artmarket_com-nos-abonnements-sur-mesure-vont-booster-fortement-nos-revenus-en-2020
En conséquence, le département juridique d’Artmarket constitue une plainte pour « abuse market » auprès de l’AMF, tel que défini par le « Market Abuse Regulation » (MAR) qui s’attaque aux abus de marchés en visant notamment les manœuvres délictuelles de l’établissement bancaire décrit ci-dessus sanctionnées par le code monétaire et financier.
L’analyse méticuleuse des carnets d’ordres (CO) de ces 30 derniers jours selon les données Euronext confiées à l’émetteur Artmarket.com révèle incontestablement des anomalies propres aux Trading Haute Fréquence (THF) mais aussi au déclenchement intempestif d’internalisateurs systématiques (en anglais : systematic internaliser) ainsi que des dérives par certains opérateurs
qui utilisent des CFD (Contract for differences en anglais ou contrat de différence en français) leur permettant de contourner l’autorité de marché Euronext qui classe Artmarket.com en SRD Long Only.
Par les CFD, ces opérateurs contournent de manière quasi-délictuelle le SRD Long Only d’Artmarket en jouant une position « shortée » à la baisse du titre.
Pour information, malgré les erreurs sur l’une des principales banque de données Bloomberg, le Fondateur d’Artprice et PDG Artmarket.com, thierry Ehrmann, à travers la holding Groupe Serveur, demeure d’une part et de très loin le premier actionnaire en contrôlant Artmarket et d’autre part, n’a jamais cédé le moindre titre depuis 10 ans.
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
Artmarket.com: tailor-made subscriptions will substantially boost our revenues in 2020
Artmarket’s joint Add a Zero project with Vahumana is based on a scientific and philosophical methodology for changing Artmarket’s economic scope.
Thanks to artificial intelligence (AI) – which we realised a long time ago would have a massive and revolutionary impact on the digital economy – Artmarket.com will soon be offering tailored subscriptions to meet the exact needs of its customers and members.
According to thierry Ehrmann, founder/CEO of Artmarket: “The potential is enormous and likely represents tens of thousands of new paying customers.Today, Artprice by Artmarket.com offers 4 subscriptions with HD images ranging from 245 to 749 euros per year. At the beginning of 2020, Artmarket.com will be able to offer thousands of different and fully personalized subscriptions for each of its 4.5 million members at prices ranging from 180 to 3,600 euros per year.”
Using AI and Big Data, Artmarket.com will finally be able to capitalise the real value of Artprice’s accumulated assets over the past 20 years, namely, close to 5 million members who regularly access our databases and services in free mode, but who, until now, have not found the right formula for their personal requirements in our 4 subscription packages. For this community, It was not a problem of price, but rather the absence of personalized subscriptions corresponding to their complex and highly individual browsing histories.
It should be noted that compared to other economic sectors, the structure and nature of the Art Market is highly complex: artists, artworks, mediums, auction houses, countries and places of sale, biographies, periods, movements, schools, etc. all contribute to a profoundly fragmented market.
Faced with this rare complexity, Artprice by Artmarket.com’s loyal members – roughly 4.5 million in total, whose browsing and search habits we have logged in full compliance with applicable laws – will at last be offered subscriptions costing between 180 and 3,600 euros per year, corresponding exactly to their specific needs based on their browsing histories and their respective interests.
According to numerous existing studies, the integration of AI and Big Data into the B2C and BtoB interface immediately generates strong sales growth. The GAFAs have all integrated AI into their business models, achieving triple-digit revenue growth!
This new ‘resource’, resulting from an industrial partnership with Vahumana (Groupe TRSb) one of Europe’s leaders in Artificial Intelligence, once again gives ArtMarket.com a substantial advance that will allow us to consolidate our global Leader position, maintain our perpetual adaptation to technological developments, and, above all, adapt our business model to the realities of contemporary consumption where the capacity to offer quality and tailor-made services is absolutely key to survival.
This project has been made possible by our name change and, above all, by the extension of our corporate purpose to include “metadata processing” as part of Artmarket.com’s global strategy as a global player in the Art Market.
Artprice by Art Market’s customers and non-subscribing members have clearly expressed their wish to be offered ultra-personalized services based on their navigation histories, their discoveries and their aspirations. We must therefore offer tailor-made services. Without AI and Big Data, it would have taken hundreds of employees in Artmarket.com’s marketing department and an almost unmanageable IT back-office to meet these expectations.
Artmarket.com’s clients and non-subscribing members have access to information about more than 720,000 artists down the centuries and 180 million artworks in a range of mediums. As of early 2020, our AI and Big Data collaboration with Vahumana will allow us to store and process in our multiple server rooms, in real time, billions of queries (logs) per year, directed towards Artprice.com’s free or subscription-based services and structured by Artmarket.com. This technological feat was unimaginable and financially impossible until recently.
It is not just a question of storing information, but also of calculation speeds and real-time behavioral analysis in strict compliance with international law.
With our AI systems, customers will have real-time access to queries that our computer scientists and econometricians only had access to after innumerable complex operations on our databases and a waiting time that was incompatible with Internet browsing. Today the Internet reaches more than 4 billion users in 4G, Wi-Fi / Fiber and 5G, the latter technology being already operational in many countries, including the USA, Greater Asia and Europe.
This major collaboration between Artmarket.com and Vahumana has received financial support from France’s Public Investment Bank after Artmarket.com once again obtained the “Innovative Company” label from the French State.
We can now customize our subscriptions, products and paid services for the millions of collectors and Art Market professionals who until now were not finding solutions adapted to their individual approaches within Artprice’s four standard subscriptions. This represents an unprecedented development for the global Art Market.
The resulting increase in our customer base without employing any additional marketing and/or human resources will generate a strong increase in revenue and this additional revenue for Artmarket.com will translate almost entirely into net profit since the company is already profitable thanks to its sound management.
According to Arnaud Girard, Director of Strategy at Vahumana:
“The corporate name change from Artprice.com to Artmarket.com and the modification of the company’s Articles of Association have laid the foundation for a new development.
Artmarket’s and Vahumana’s joint Add a Zero project is based on a scientific and philosophical paradigm shift… and it will completely alter Artmarket’s economic scope.
It reflects the transition from an ‘information market’ to a ‘data exploitation market’ and it will extend Artmarket.com’s knowledge and expertise to the entire Art Market.
Every year Artmarket.com generates, processes and analyzes massive quantities of metadata (first and second party). It is now moving into a new phase in which this metadata can be structured and exploited projectively.
The collaboration with Vahumana – a company specialised in economic and technological strategy as well as experience design, working in a resolutely transversal and interconnected vision of modern socio-economics – will allow Artmarket.com to elaborate a structural approach to the operational exploitation of its big data.”
Arnaud Girard, Director of Strategy at Vahumana, alos confirmed:
“Our collaboration with Artmarket.com has allowed us to focus on a range of possible futures for the art world, based on the Law of Large Numbers and on an emotional understanding of the sector. We want to take Artmarket.com into the world of smart data. Where Artprice.com created objectivity… Artmarket.com will create predictability.”
Data enhances what “is”.
By exploiting our data – in particular first party data – we will be able to create paths, products and services that respond more precisely to the needs of our different types of users.
Collectors, art professionals and artists will benefit from personalized and optimized content and features.
Vahumana will enhance the operational efficiency of existing and future systems in order to extract maximum value.
The data determines what will “become”.
One of the collateral benefits of data exploitation is the discovery of unforeseen and otherwise unforeseeable opportunities. Artmarket.com and Vahumana use what might be called a “serendipity approach”, in which attention is paid to the surprising results of studies and relevant interpretations are proposed. Probability theory, made possible by the volume and quality of the data, is used to confirm the relevance of these interpretations.
Artmarket.com is therefore giving itself the means to move into new strategic paradigms.
Data leads us to “deeptech”.
Steered by Renaud Rochefolle, Vahumana’s Chief Technology Officer, Artmarket.com’s Big Data leads naturally towards the construction of powerful machine learning systems… a cognitive approach to analysis.
The machine learning systems will model the complex relationships between causal factors and forecast variables.
The implementation of a Smart Data strategy will optimise the processing of information and deliver relevant and actionable data for our customers and our internal teams.
Data brings us back to human knowledge.
In order to create new value-adding propositions and identify the most interesting avenues to explore, we need to combine data-derived knowledge with an intimate observation of the customers’ most subtle emotions and behavioral quirks. Dataism is not enough.
According to Bertrand Cochet, Vahumana’s Experience Design Director “this more emotional and human approach requires identification of the root causes of the problems to be solved and ultimately opens the path to innovation.”
The segmentation of customers and their requirements only has relative (and perishable) stability. External disrupting factors can appear overnight.
Artmarket.com is thinking hard about what its customers will need in the future and the best way to serve them.
“We will secure the core business and double down on market-readable peripheral revenue,” concludes Arnaud Girard.
The founder of Artprice and CEO of Artmarket.com, thierry Ehrmann: “in the early 2000s the famous sociologist and historian, the late Raymonde Moulin, who, together with Raymond Aron, conceptualized the Art Market, said ‘Whatever the future of Artprice, there can be no doubt that with Artprice thierry Ehrmann will permanently change the history of the Art Market.’
Almost 20 years later, I cannot help but remember this prediction as we launch Artprice’s second incarnation with Artmarket.com. Having completed a massive cycle of technological research and development, we realised we needed to move into a second stage that requires almost unlimited resources in computing power and storage capacity.
Fortunately, the technological and scientific solutions that can help us make this step are now within reach, and we are therefore about to make a historical step with enormous economic consequences. Artmarket.com possesses one of the most sought-after resources in the 21st century… practically all of the Art Market’s historical data – from the dawn of time to the present day – commented by our historians and structured by our IT teams. These teams are now augmented by Vahumana’s top-bracket expertise. Remembering the motto of the Pythagorean School…“all is number”… we are looking forward to changing the way the Art Market functions… a modus operandi still dominated by the petrified standards and customs of art academics at the beginning of the last century.”
Copyright 1987-2019 thierry Ehrmann http://www.artprice.com – http://www.artmarket.com
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://www.facebook.com/the.demeure.du.chaos.theabodeofchaos999
Contact Artmarket.com and its Artprice department
Contact: ir@artmarket.com
Artprice by Art Market: 10 works that should ignite bidding at New York’s prestige sales, 11 – 20 November 2019
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.
Copyright 1987-2019 thierry Ehrmann http://www.artprice.com – http://www.artmarket.com
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://www.facebook.com/the.demeure.du.chaos.theabodeofchaos999
Contact Artmarket.com and its Artprice department
Contact: ir@artmarket.com
Artprice by Art Market : Les 10 œuvres qui devraient enflammer les prestigieuses ventes de New York, du 11 au 20 novembre 2019
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.
Copyright 1987-2019 thierry Ehrmann www.artprice.com – www.artmarket.com
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://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999
Contact d’Artmarket.com avec son département Artprice
Contact ir@artmarket.com
ArtMarket.com – 24 October 2023: How the Art Market saves the world from economic and financial apocalypse…
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.
Copyright 1987-2019 thierry Ehrmann http://www.artprice.com – http://www.artmarket.com
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
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ArtMarket.com – 24 octobre 2023 : comment le Marché de l’Art sauve le monde… face à l’Apocalypse économique et financière.
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.
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]
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.
Copyright 1987-2019 thierry Ehrmann www.artprice.com – www.artmarket.com
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
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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
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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.
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
Copyright 1987-2019 thierry Ehrmann http://www.artprice.com – http://www.artmarket.com
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
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Artprice by Art Market : la France collectionne les succès, avec Cimabue, les Lalanne et Paris Photo 2019
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
Copyright 1987-2019 thierry Ehrmann www.artprice.com – www.artmarket.com
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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.
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Artprice by Art Market: will the Paris FIAC be able to live up to the success of Frieze London?
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.
Copyright 1987-2019 thierry Ehrmann http://www.artprice.com – http://www.artmarket.com
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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.
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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.
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Artprice by Art Market : Paris et la FIAC peuvent-elles briller après le succès de la Frieze London ?
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.
Copyright 1987-2019 thierry Ehrmann www.artprice.com – www.artmarket.com
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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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.
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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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Artprice by Artmarket: The Gagosian’s grand projects for the late Simon Hantaï (1922-2008)
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
Copyright 1987-2019 thierry Ehrmann http://www.artprice.com – http://www.artmarket.com
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Artprice by ArtMarket : les grands projets de la galerie Gagosian pour feu Simon Hantaï (1922-2008)
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
Copyright 1987-2019 thierry Ehrmann www.artprice.com – www.artmarket.com
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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
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
Copyright 1987-2019 thierry Ehrmann www.artprice.com – www.artmarket.com
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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/11/2019/03/2019-bio-whoswho-thierry-ehrmann.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 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)
https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999
Contact d’Artmarket.com avec son département Artprice
Contact ir@artprice.com
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.
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
Copyright 1987-2019 thierry Ehrmann www.artprice.com – www.artmarket.com
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
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
https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999
(4 million followers)
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
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.
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
Copyright 1987-2019 thierry Ehrmann www.artprice.com – www.artmarket.com
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/11/2019/03/2019-bio-whoswho-thierry-ehrmann.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 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)
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+
Artprice’s historic EGM validates Artmarket.com in order to embrace the all-digital age as a global player in the Art Market
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
Copyright ©1987-2019 thierry Ehrmann – www.artprice.com – www.artmarket.com
About Artprice:
Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.
Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2019/03/2019-bio-whoswho-thierry-ehrmann.pdf).
Dicover Artprice in video: https://www.artprice.com/video
Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.
Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications.
For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2018 published last March 2019: https://www.artprice.com/artprice-reports/the-art-market-in-2018
Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.
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
The Contemporary Art Museum The Abode of Chaos
https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999 3.9 million subscribers
Contact: ir@artprice.com
Artprice by Art Market: H2 2019 begins with very positive signals
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.
Copyright ©1987-2019 thierry Ehrmann – www.artprice.com – www.artmarket.com
About Artprice:
Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.
Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2019/03/2019-bio-whoswho-thierry-ehrmann.pdf).
Dicover Artprice in video: https://www.artprice.com/video
Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.
Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications.
For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2018 published last March 2019: https://www.artprice.com/artprice-reports/the-art-market-in-2018
Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.
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
The Contemporary Art Museum The Abode of Chaos
https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999 3.9 million subscribers
Contact: ir@artprice.com
Artprice by Art Market: the geopolitics of the 15th Lyon Biennale
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.
Copyright ©1987-2019 thierry Ehrmann – www.artprice.com – www.artmarket.com
About Artprice:
Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.
Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2019/03/2019-bio-whoswho-thierry-ehrmann.pdf).
Dicover Artprice in video: https://www.artprice.com/video
Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.
Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications.
For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2018 published last March 2019: https://www.artprice.com/artprice-reports/the-art-market-in-2018
Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.
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
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
At its EGM on 30 September 2019, Artprice.com will switch name to Artmarket.com to become the global reference in the Art Market.
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.
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…
…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”.
Copyright ©1987-2019 thierry Ehrmann – www.artprice.com – www.artmarket.com
About Artprice:
Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.
Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2019/03/2019-bio-whoswho-thierry-ehrmann.pdf).
Dicover Artprice in video: https://www.artprice.com/video
Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.
Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications.
For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2018 published last March 2019: https://www.artprice.com/artprice-reports/the-art-market-in-2018
Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.
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
The Contemporary Art Museum The Abode of Chaos
https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999 3.9 million subscribers
Contact: ir@artprice.com
Artprice.com va s’appeler Artmarket.com pour être l’acteur global du Marché de l’Art à son AGE du 30 septembre 2019
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.
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 ».
Copyright 1987-2019 thierry Ehrmann www.artprice.com – www.artmarket.com
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
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Artprice by Art Market: Top 10 auction gains in H1 2019
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
© artprice.com
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:
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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 the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.
Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications.
For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2018 published last March 2019: https://www.artprice.com/artprice-reports/the-art-market-in-2018
Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.
Artprice’s Contemporary Art Market Annual Report for 2018 – free access at:
https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2018
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The Contemporary Art Museum The Abode of Chaos
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Artprice by Art Market: les 10 meilleures plus-values au S1 2019 face aux taux négatifs ou voisins de zéro
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
© artprice.com
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.
Copyright 1987-2019 thierry Ehrmann www.artprice.com – www.artmarket.com
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.
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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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(Addendum Artmarket.com) L’actif incorporel unique du nom de domaine artmarket.com pourrait être estimé autour de 120 millions de dollars
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/
Copyright 1987-2019 thierry Ehrmann www.artprice.com – www.artmarket.com
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.
Artron.Net est la marque la plus respectée du monde de l’art chinois. Artron.Net compte plus de 3 millions de membres professionnels dans le secteur des arts et 15 millions de visites quotidiennes en moyenne, ce qui en fait le premier site Web d’art mondial.
A propos d’Artprice :
Artprice est cotée sur Eurolist by Euronext Paris, SRD long only et Euroclear : 7478 – Bloomberg : PRC – Reuters : ARTF.
Découvrir Artprice en vidéo : https://fr.artprice.com/video
Artprice fut fondée en 1997 par thierry Ehrmann qui est son PDG. Artprice est auto-contrôlée par le Groupe Serveur créé en 1987. Voir biographie certifiée de Who’s who © :
https://imgpublic.artprice.com/img/wp/sites/11/2019/03/2019-bio-whoswho-thierry-ehrmann.pdf
Artprice est le Leader mondial des banques de données sur la cotation et les indices de l’Art avec plus de 30 millions d’indices et résultats de ventes couvrant plus de 700 000 Artistes. Artprice Images® permet un accès illimité au plus grand fonds du Marché de l’Art au monde, bibliothèque constituée de 126 millions d’images ou gravures d’oeuvres d’Art de 1700 à nos jours commentées par ses historiens.
Artprice enrichit en permanence ses banques de données en provenance de 6300 Maisons de Ventes et publie en continu les tendances du Marché de l’Art pour les principales agences et 7200 titres de presse dans le monde. Artprice met à la disposition de ses 4,5 millions de membres (members log in), les annonces déposées par ses Membres, qui constituent désormais la première Place de Marché Normalisée® mondiale pour acheter et vendre des oeuvres d’Art à prix fixe ou aux enchères (enchères réglementées par les alinéas 2 et 3 de l’article L 321.3 du Code du Commerce).
Artprice, labellisée par le BPI pour la deuxième fois en novembre 2018, développe son projet de Blockchain sur le Marché de l’Art.
Le Rapport Annuel Artprice du Marché de l’Art mondial 2018 publié en mars 2019 : https://fr.artprice.com/artprice-reports/le-marche-de-lart-en-2018
Le Rapport du Marché de l’Art Contemporain 2018 d’Artprice :
https://fr.artprice.com/artprice-reports/le-marche-de-lart-contemporain-2018
Sommaire des communiqués d’Artprice :
http://serveur.serveur.com/press_release/pressreleasefr.htm
https://twitter.com/artpricedotcom
Suivre en temps réel toute l’actualité du Marché de l’Art avec Artprice sur Facebook et Twitter :
https://www.facebook.com/artpricedotcom 4,5 millions d’abonnés
https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom
http://artmarketinsight.wordpress.com/
Découvrir l’alchimie et l’univers d’Artprice http://web.artprice.com/video dont le siège social est le célèbre Musée d’art contemporain Abode of Chaos dixit The New York Times / La Demeure du Chaos: https://issuu.com/demeureduchaos/docs/demeureduchaos-abodeofchaos-opus-ix-1999-2013
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
The Guggenheim, the Louvre, the Pompidou Center and now ArtMarket all possess a “.art” generic top-level domain (gTLD) !
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.”
Copyright ©2019 thierry Ehrmann – www.artprice.com – www.artmarket.com
About Artprice:
Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.
Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2019/03/2019-bio-whoswho-thierry-ehrmann.pdf).
Dicover Artprice in video: https://www.artprice.com/video
Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.
Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications.
For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2018 published last March 2019: https://www.artprice.com/artprice-reports/the-art-market-in-2018
Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.
About the Artron Group:
Partners since 2009, in 2018, Artron and Artprice signed a historic agreement to create a “New Silk Road for Art”. This initiative is perfectly coherent with China’s « One Belt, One Road » (OBOR) or « Belt and Road Initiative » (BRI) launched in 2013 and known in Europe as the “New Silk Road”.
“Artron Art Group (Artron), a comprehensive cultural industrial group founded in 1993 by Wan jie, is committed to inheriting, enhancing and spreading art value. Based on abundant art data, Artron provides art industry and art fans with professional service and experience of quality products by integrated application of IT, advanced digital science and innovative crafts and materials.
Having produced more than 60,000 books and auction catalogues, Artron is the world’s largest art book printer with a total print volume of 300 million a year. It has more than 3 million professional members in the arts sector and an average of 15 million daily visits, making it the world’s leading art website.”
Artron’s Web: www.Artron.net
Artprice’s Contemporary Art Market Annual Report for 2018 – free access at:
https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2018
Artprice’s press releases:
http://serveur.serveur.com/Press_Release/pressreleaseen.htm
https://twitter.com/artpricedotcom
Artmarket News:
https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom
https://www.facebook.com/artpricedotcom 4,5 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
The Contemporary Art Museum The Abode of Chaos
https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999 3.9 million subscribers
Contact: ir@artprice.com
Artprice: the digital revolution of the Art Market is now!
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.
Copyright ©2019 thierry Ehrmann – www.artprice.com – www.artmarket.com
About Artprice:
Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.
Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2019/03/2019-bio-whoswho-thierry-ehrmann.pdf).
Dicover Artprice in video: https://www.artprice.com/video
Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.
Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications.
For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2018 published last March 2019: https://www.artprice.com/artprice-reports/the-art-market-in-2018
Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.
About the Artron Group:
Partners since 2009, in 2018, Artron and Artprice signed a historic agreement to create a “New Silk Road for Art”. This initiative is perfectly coherent with China’s « One Belt, One Road » (OBOR) or « Belt and Road Initiative » (BRI) launched in 2013 and known in Europe as the “New Silk Road”.
“Artron Art Group (Artron), a comprehensive cultural industrial group founded in 1993 by Wan jie, is committed to inheriting, enhancing and spreading art value. Based on abundant art data, Artron provides art industry and art fans with professional service and experience of quality products by integrated application of IT, advanced digital science and innovative crafts and materials.
Having produced more than 60,000 books and auction catalogues, Artron is the world’s largest art book printer with a total print volume of 300 million a year. It has more than 3 million professional members in the arts sector and an average of 15 million daily visits, making it the world’s leading art website.”
Artron’s Web: www.Artron.net
Artprice’s Contemporary Art Market Annual Report for 2018 – free access at:
https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2018
Artprice’s press releases:
http://serveur.serveur.com/Press_Release/pressreleaseen.htm
https://twitter.com/artpricedotcom
Artmarket News:
https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom
https://www.facebook.com/artpricedotcom 4,4 million subscribers
http://artmarketinsight.wordpress.com/
Discover the Alchemy and the universe of Artprice http://web.artprice.com/video, which headquarters are the famous Museum of Contemporary Art, the Abode of Chaos: https://issuu.com/demeureduchaos/docs/demeureduchaos-abodeofchaos-opus-ix-1999-2013
The Contemporary Art Museum The Abode of Chaos
https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999 3.9 million subscribers
Contact: ir@artprice.com
Artprice : La révolution numérique du Marché de l’Art, c’est maintenant
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.
Copyright 1987-2019 thierry Ehrmann www.artprice.com – www.artmarket.com
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.
Artron.Net est la marque la plus respectée du monde de l’art chinois. Artron.Net compte plus de 3 millions de membres professionnels dans le secteur des arts et 15 millions de visites quotidiennes en moyenne, ce qui en fait le premier site Web d’art mondial.
A propos d’Artprice :
Artprice est cotée sur Eurolist by Euronext Paris, SRD long only et Euroclear : 7478 – Bloomberg : PRC – Reuters : ARTF.
Découvrir Artprice en vidéo : https://fr.artprice.com/video
Artprice fut fondée en 1997 par thierry Ehrmann qui est son PDG. Artprice est auto-contrôlée par le Groupe Serveur créé en 1987. Voir biographie certifiée de Who’s who © :
https://imgpublic.artprice.com/img/wp/sites/11/2019/03/2019-bio-whoswho-thierry-ehrmann.pdf
Artprice est le Leader mondial des banques de données sur la cotation et les indices de l’Art avec plus de 30 millions d’indices et résultats de ventes couvrant plus de 700 000 Artistes. Artprice Images® permet un accès illimité au plus grand fonds du Marché de l’Art au monde, bibliothèque constituée de 126 millions d’images ou gravures d’oeuvres d’Art de 1700 à nos jours commentées par ses historiens.
Artprice enrichit en permanence ses banques de données en provenance de 6300 Maisons de Ventes et publie en continu les tendances du Marché de l’Art pour les principales agences et 7200 titres de presse dans le monde. Artprice met à la disposition de ses 4,5 millions de membres (members log in), les annonces déposées par ses Membres, qui constituent désormais la première Place de Marché Normalisée® mondiale pour acheter et vendre des oeuvres d’Art à prix fixe ou aux enchères (enchères réglementées par les alinéas 2 et 3 de l’article L 321.3 du Code du Commerce).
Artprice, labellisée par le BPI pour la deuxième fois en novembre 2018, développe son projet de Blockchain sur le Marché de l’Art.
Le Rapport Annuel Artprice du Marché de l’Art mondial 2018 publié en mars 2019 : https://fr.artprice.com/artprice-reports/le-marche-de-lart-en-2018
Le Rapport du Marché de l’Art Contemporain 2018 d’Artprice :
https://fr.artprice.com/artprice-reports/le-marche-de-lart-contemporain-2018
Sommaire des communiqués d’Artprice :
http://serveur.serveur.com/press_release/pressreleasefr.htm
https://twitter.com/artpricedotcom
Suivre en temps réel toute l’actualité du Marché de l’Art avec Artprice sur Facebook et Twitter :
https://www.facebook.com/artpricedotcom 4,5 millions d’abonnés
https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom
http://artmarketinsight.wordpress.com/
Découvrir l’alchimie et l’univers d’Artprice http://web.artprice.com/video dont le siège social est le célèbre Musée d’art contemporain Abode of Chaos dixit The New York Times / La Demeure du Chaos: https://issuu.com/demeureduchaos/docs/demeureduchaos-abodeofchaos-opus-ix-1999-2013
Musée d’Art Contemporain siège social d’Artprice :
https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999
(3,9 millions d’abonnés)
Contact ir@artprice.com
Artprice.com is changing its name to Artmarket.com to become a global player in the Art Market
Artprice.com is changing its name to Artmarket.com to become a global player in the Art Market
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.
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]
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.
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.
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.
Copyright 1987-2019 thierry Ehrmann www.artprice.com – www.artmarket.com
About Artprice:
Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.
Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2019/03/2019-bio-whoswho-thierry-ehrmann.pdf).
Dicover Artprice in video: https://www.artprice.com/video
Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.
Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications.
For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2018 published last March 2019: https://www.artprice.com/artprice-reports/the-art-market-in-2018
Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.
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/
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
The Contemporary Art Museum The Abode of Chaos
https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999 3.9 million subscribers
Contact: ir@artprice.com
Artprice: The Digital Revolution of the Art Market is Now
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. »
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).
Discover Artprice in video: https://www.artprice.com/video
Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.
Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications.
For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2018 published last March 2019: https://www.artprice.com/artprice-reports/the-art-market-in-2018
Contact: thierry Ehrmann, ir@artprice.com
Video: https://mma.prnewswire.com/media/943770/thierry_Ehrmann.mp4
Photo: https://mma.prnewswire.com/media/943754/Artprice_Price_Indexes_Infographic.jpg
Logo: https://mma.prnewswire.com/media/817151/Artprice_Logo.jpg
SOURCE Artprice.com
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Artprice: Hong Kong drives the Contemporary Art Market
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)
Copyright ©2019 thierry Ehrmann – www.artprice.com
Try our services (free demo):
https://www.artprice.com/artist/23640/baishi-qi
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https://www.artprice.com/subscription
About Artprice:
Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.
Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2019/03/2019-bio-whoswho-thierry-ehrmann.pdf).
Dicover Artprice in video: https://www.artprice.com/video
Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.
Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications.
For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2018 published last March 2019: https://www.artprice.com/artprice-reports/the-art-market-in-2018
Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.
About the Artron Group:
“Artron Art Group (Artron), a comprehensive cultural industrial group founded in 1993 by Wan jie, is committed to inheriting, enhancing and spreading art value. Based on abundant art data, Artron provides art industry and art fans with professional service and experience of quality products by integrated application of IT, advanced digital science and innovative crafts and materials.
Having produced more than 60,000 books and auction catalogues, Artron is the world’s largest art book printer with a total print volume of 300 million a year. It has more than 3 million professional members in the arts sector and an average of 15 million daily visits, making it the world’s leading art website.”
Artron’s Web: www.Artron.net
Artprice’s Contemporary Art Market Annual Report for 2018 – free access at:
https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2018
Artprice’s press releases:
http://serveur.serveur.com/Press_Release/pressreleaseen.htm
https://twitter.com/artpricedotcom
Artmarket News:
https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom
https://www.facebook.com/artpricedotcom 4,3 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
The Contemporary Art Museum The Abode of Chaos
https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999 3.8 million subscribers
Contact: ir@artprice.com
ARTPRICE: Big is beautiful…
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 the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.
Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications.
For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2018 published last March 2019: https://www.artprice.com/artprice-reports/the-art-market-in-2018
Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.
About the Artron Group:
“Artron Art Group (Artron), a comprehensive cultural industrial group founded in 1993 by Wan jie, is committed to inheriting, enhancing and spreading art value. Based on abundant art data, Artron provides art industry and art fans with professional service and experience of quality products by integrated application of IT, advanced digital science and innovative crafts and materials.
Having produced more than 60,000 books and auction catalogues, Artron is the world’s largest art book printer with a total print volume of 300 million a year. It has more than 3 million professional members in the arts sector and an average of 15 million daily visits, making it the world’s leading art website.”
Artron’s Web: www.Artron.net
Artprice’s Contemporary Art Market Annual Report for 2018 – free access at:
https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2018
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Artprice: the 10 top-selling artworks created after the 2008 financial crisis
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.
Copyright ©2019 thierry Ehrmann – www.artprice.com
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About Artprice:
Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.
Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2019/03/2019-bio-whoswho-thierry-ehrmann.pdf).
Dicover Artprice in video: https://www.artprice.com/video
Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.
Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications.
For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2018 published last March 2019: https://www.artprice.com/artprice-reports/the-art-market-in-2018
Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.
About the Artron Group:
“Artron Art Group (Artron), a comprehensive cultural industrial group founded in 1993 by Wan jie, is committed to inheriting, enhancing and spreading art value. Based on abundant art data, Artron provides art industry and art fans with professional service and experience of quality products by integrated application of IT, advanced digital science and innovative crafts and materials.
Having produced more than 60,000 books and auction catalogues, Artron is the world’s largest art book printer with a total print volume of 300 million a year. It has more than 3 million professional members in the arts sector and an average of 15 million daily visits, making it the world’s leading art website.”
Artron’s Web: www.Artron.net
Artprice’s Contemporary Art Market Annual Report for 2018 – free access at:
https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2018
Artprice’s press releases:
http://serveur.serveur.com/Press_Release/pressreleaseen.htm
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Artprice: All segments of the Art Market are gold mines for those who know how to anticipate and wait.
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…
Copyright ©2019 thierry Ehrmann – www.artprice.com
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About Artprice:
Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.
Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2019/03/2019-bio-whoswho-thierry-ehrmann.pdf).
Dicover Artprice in video: https://www.artprice.com/video
Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.
Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications.
For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2018 published last March 2019: https://www.artprice.com/artprice-reports/the-art-market-in-2018
Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.
About the Artron Group:
“Artron Art Group (Artron), a comprehensive cultural industrial group founded in 1993 by Wan jie, is committed to inheriting, enhancing and spreading art value. Based on abundant art data, Artron provides art industry and art fans with professional service and experience of quality products by integrated application of IT, advanced digital science and innovative crafts and materials.
Having produced more than 60,000 books and auction catalogues, Artron is the world’s largest art book printer with a total print volume of 300 million a year. It has more than 3 million professional members in the arts sector and an average of 15 million daily visits, making it the world’s leading art website.”
Artron’s Web: www.Artron.net
Artprice’s Contemporary Art Market Annual Report for 2018 – free access at:
https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2018
Artprice’s press releases:
http://serveur.serveur.com/Press_Release/pressreleaseen.htm
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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
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Artprice: The Art Market confirms Robert Combas as one of France’s major living artists
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
© Artprice.com
Ranking – Work – Price – Sale (date and place)
1. La bagarre de Zozo (1986) – $220 350 – 04/04/2018, Artcurial, Paris
2. La prise de la Bastille (c. 1989) – $219 200 – 04/04/2018, Desbenoit, Paris
3. Le Roi Soleil (1987) – $212 500 – 03/06/2017, Ravenel, Taïwan
4. Il suffit de passer le pont (1992) – $212 400 – 19/03/2019, Sotheby’s Paris
5. Louis XIV (1985) – $207 700 – 28/03/2013, Cornette de Saint Cyr, Paris
6. Le chien à cinq pattes (1987) – $190 500 – 05/06/2018, Artcurial, Paris
7. La charrette des Condamnés (c. 1979) – $190 000 – 04/06/2018, Desbenoit, Paris
8. La gitane amoureuse (1988) – $184 500 – 03/12/2018, Artcurial, Paris
9. Les 4 peluches de l’Ave Maria (1987) – $176 500 – 04/04/2012, Artcurial, Paris
10. Nolon (1987) – $169 500 – 06/12/2017 – Sotheby’s, Paris
With France accounting for 87% of his lots sold, the core of Combas’ market remains French. However, his works are now selling well beyond France and Belgium, having already reached England and even Asia. The American market has so far resisted his prolific painting practice which is reminiscent of Keith 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.
Copyright ©2019 thierry Ehrmann – www.artprice.com
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About Artprice:
Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.
Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2019/03/2019-bio-whoswho-thierry-ehrmann.pdf).
Dicover Artprice in video: https://www.artprice.com/video
Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.
Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications.
For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2018 published last March 2019: https://www.artprice.com/artprice-reports/the-art-market-in-2018
Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.
About the Artron Group:
“Artron Art Group (Artron), a comprehensive cultural industrial group founded in 1993 by Wan jie, is committed to inheriting, enhancing and spreading art value. Based on abundant art data, Artron provides art industry and art fans with professional service and experience of quality products by integrated application of IT, advanced digital science and innovative crafts and materials.
Having produced more than 60,000 books and auction catalogues, Artron is the world’s largest art book printer with a total print volume of 300 million a year. It has more than 3 million professional members in the arts sector and an average of 15 million daily visits, making it the world’s leading art website.”
Artron’s Web: www.Artron.net
Artprice’s Contemporary Art Market Annual Report for 2018 – free access at:
https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2018
Artprice’s press releases:
http://serveur.serveur.com/Press_Release/pressreleaseen.htm
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Artmarket News:
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Discover the Alchemy and the universe of Artprice http://web.artprice.com/video, which headquarters are the famous Museum of Contemporary Art, the Abode of Chaos: https://issuu.com/demeureduchaos/docs/demeureduchaos-abodeofchaos-opus-ix-1999-2013
The Contemporary Art Museum The Abode of Chaos
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Artprice: Top 50 artworks sold at auction in 2018
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)
Copyright ©2019 thierry Ehrmann – www.artprice.com
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Subscribe to our services:
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About Artprice:
Artprice is listed on the Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.
Founded by thierry Ehrmann (see Who’s who certified Biography ) (c) https://imgpublic.artprice.com/img/wp/sites/11/2019/03/2019-bio-whoswho-thierry-ehrmann.pdf).
Dicover Artprice in video: https://www.artprice.com/video
Artprice is the global leader in art price and art index databanks. It has over 30 million indices and auction results covering more than 700,000 artists. Artprice Images® gives unlimited access to the largest Art Market resource in the world: a library of 126 million images or prints of artworks from the year 1700 to the present day, along with comments by Artprice’s art historians.
Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications.
For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label) Artprice’s Global Art Market Annual Report for 2018 published last March 2019: https://www.artprice.com/artprice-reports/the-art-market-in-2018
Artprice is associated with Artron Group the Chinese leader in the Art Market, its solid institutional partner.
About the Artron Group:
“Artron Art Group (Artron), a comprehensive cultural industrial group founded in 1993 by Wan jie, is committed to inheriting, enhancing and spreading art value. Based on abundant art data, Artron provides art industry and art fans with professional service and experience of quality products by integrated application of IT, advanced digital science and innovative crafts and materials.
Having produced more than 60,000 books and auction catalogues, Artron is the world’s largest art book printer with a total print volume of 300 million a year. It has more than 3 million professional members in the arts sector and an average of 15 million daily visits, making it the world’s leading art website.”
Artron’s Web: www.Artron.net
Artprice’s Contemporary Art Market Annual Report for 2018 – free access at:
https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2018
Artprice’s press releases:
http://serveur.serveur.com/Press_Release/pressreleaseen.htm
https://twitter.com/artpricedotcom
Artmarket News:
https://twitter.com/artpricedotcom & https://twitter.com/artmarketdotcom
https://www.facebook.com/artpricedotcom 3.9 million subscribers
http://artmarketinsight.wordpress.com/
Discover the Alchemy and the universe of Artprice http://web.artprice.com/video, which headquarters are the famous Museum of Contemporary Art, the Abode of Chaos: https://issuu.com/demeureduchaos/docs/demeureduchaos-abodeofchaos-opus-ix-1999-2013
The Contemporary Art Museum The Abode of Chaos
https://www.facebook.com/la.demeure.du.chaos.theabodeofchaos999 3.6 million subscribers
Contact: ir@artprice.com
Artprice 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.
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 21th Global Art Market Annual Report co-published by Artprice and Artron last week, Mr Wan Jie, Chairman of Artron Group, Artprice’s Chinese Institutional partner, stated: “This growth (of the art market) over time, like that of Artron’s partnership with Artprice, will continue to accelerate as we integrate our resources, optimize our data, upgrade our Internet technology and diversify our business cooperation models. The result will be a New Silk Road connecting the different art worlds and the markets of the East and the West.”
In his speech during celebrations marking China’s 40 years of reform and economic opening, President Xi Jinping, announced new measures to strengthen China’s domestic market, measures that Artprice and Artron have immediately incorporated.
In order to best meet the requirements of China’s huge domestic market and take full advantage of its economic potential, Artprice has agreed with Artron to further deepen its role in China via the creation and implementation, by the Artron group, of a payment platform as well as various Chinese infrastructures in order to adapt to the new measures announced in February 2019.
In this context, Artprice, with Artron, will launch its official campaign with a new Chinese brand name and a new baseline in Chinese that will be communicated to the market before the end of March. This originally unplanned initiative – in compliance with the 2019 Chinese measures announced last month and effectively leading to a ‘new strategy’ – has slightly postponed Artprice’s initial targets, which otherwise remain unchanged.
thierry Ehrmann: “By becoming a Chinese brand for China – taking into account the specific tastes of Chinese art lovers, collectors and professionals – Artprice is blending into the history and daily life of China’s thousand-year-old culture, thereby boosting its notoriety and its sales turnover more quickly”.
More than ever, one of Artprice’s primary objectives is to meet the needs of China’s administration and its 34 provinces. This notably includes the requirements of China’s customs services in setting up an operational tax base for artworks (where applicable).
Besides these initiatives concerning China’s domestic market, Artprice has become a member of the New Franco-Chinese Institute of Lyons (launched in 1921). Created at the initiative of the City of Lyons, the Lyons Chamber of Commerce and the ADERLY, the New Franco-Chinese Institute of Lyons has already brought together many