Posts Tagged ‘$PRC’

thierry Ehrmann: « The FCC’s decision last night represents the most positive and significant event over the last 20 years of Artprice’s history »

2017/12/18 Commentaires fermés

Thierry Ehrmann, founder and CEO of Artprice:

“The FCC’s decision last night represents the most positive and significant event over the last 20 years of Artprice’s history and it confirms beyond any doubt Artprice’s revenue forecasts for the Internet kiosk payment system, which Artprice has always defended, rejecting all forms of online advertising and considering the purchase of Artprice content by credit card as an outright commercial heresy.”

Artprice reacts to the decision on 14 December 2017 by the powerful American Federal Commission of Communications (FCC) that repealed the principle of Internet neutrality.

Contrary to the speculative and truncated analyses that have been circulating, this decision is in the best interests and provides better legal protection *footnote for Internet users, Telecom operators and high-quality content publishers like Artprice.

Remember that Artprice’s IPO prospectus and all its reference documents subsequently filed with the AMF indicate that Artprice had always unambiguously preferred the Internet kiosk payment system – billed from $1 to $5 per minute, with 80% credited to the content provider by the Telecom operator, which charges the subscriber directly via his telephone/Internet bill.

Indeed, Artprice has always categorically rejected online advertising, considering it negative for Internet users, because, unlike the television where viewers are passive, Internet users are by nature active and see online advertising as an annoying obstacle to their search for information.

Similarly the purchase of content with a credit card takes an unimaginably long time and is a very tedious process that is getting more and more complicated as the years go by.

Proof of this is provided by French provider Orange® in a Wanadoo® document that stipulates that 70% of its clients drop out of content purchases when confronted with the current bankcard payment system – excluding purchases of physical goods… which Artprice doesn’t sell.

As of 1985, Server Group, Artprice’s parent company, built its position as French leader of the Teletel (Minitel) with access to its legal, judicial and economic databanks, charged between 5.57 francs/minute and 9.21 francs/minute.

In 20 years of mergers and acquisitions, Server Group helped numerous content publishers switch from subscription fee mode 3614 dial-up short code to kiosk payment mode 3617 ($1/minute) or 3629 ($2/minute) dial-up short codes. Each time, the turnover of the publisher was multiplied by a minimum of 5 times within 2 months (it took the DGAT – French General Directorate Telematics Affairs – 45 days to implement the switch).

In the area of accounting, Artprice itself has irrefutable proof that the kiosk system boosts revenue very significantly.

After its acquisition of Artprice Annual (among its many other acquisitions), Artprice discovered that a Minitel company holding the 3617 Artcote franchise since 1991 generated an excellent turnover very close to its net income, with just 4 updates per year and no provision of indices, images (reproductions of artworks), information concerning future sales, artists’ biographies and no search, selection, or decision support tools… and no alerts. In short, despite these major handicaps, the company generated a better revenue, on a like-for-like basis, than Artprice, until 2000.

Moreover, concerning France, Artprice has undeniable scientific and economic evidence that during the Minitel era, the French Ministry of Telecommunications (via its State subsidiary Transpac) experienced substantial Teletel data flow problems. In 1985 the Telecom Ministry invested heavily via Transpac to ensure the smooth flow of content from the server centres to the 14 million Minitel users.

That same year, dial-up short code 3614, with its paid subscription by check or credit card, was shelved and replaced more than 95% by the kiosk payment system.

What happened on 14 December 2017 with the FCC vote is a similar response.


In simple terms, the FCC ruling now allows Internet operators in the world, including the 13 root servers in the US (because the Internet is indeed under American tutelage) to guarantee the reliability of contents from A (content servers in the world) to Z (end customers) with a perfectly controlled flow, which was not the case until the vote to repeal Internet neutrality.

This historic vote will set the foundations for a properly dynamic and ‘virtuous’ economy and protect consumers who will benefit from a proper legal protection on purchased data. The introduction of contract law into the provision of contents will prevent the dissemination of “fake news” as well as of countless other forms of Internet misuse and abuse. Copyright thierry Ehrmann 1987/2017

About Artprice:

Artprice celebrates its 20th birthday, editorial by thierry Ehrmann, founder and CEO of Artprice.

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

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

Artprice permanently enriches its databanks with information from 6,300 auctioneers and it publishes a constant flow of art market trends for the world’s principal news agencies and approximately 7,200 international press publications. For its 4,500,000 members, Artprice gives access to the world’s leading Standardised Marketplace for buying and selling art. Artprice is preparing its blockchain for the Art Market. It is BPI-labelled (scientific national French label).

Artprice’s Global Art Market Annual Report for 2016 published last March 2017:

Artprice’s Contemporary Art Market Annual Report for 2016 – free access at

The text presented hereafter is a translation of Arte Creative’s online presentation: ARTE: A gigantic Christmas tree in the guise of a butt plug, a machine that defecates five-star meals, an icon immersed in urine and staged corpses – subversive, trash, provocative or insulting? Thierry Ehrmann, the man behind The Abode of Chaos dixit « The New York Times », an artist and the founder of Artprice, is the mouthpiece for scandal and discloses the workings of the most striking controversies in contemporary art. And scandal sells. 9 episodes are online:

Artprice’s press releases: and

News Artmarket:

Discover the Alchemy and the universe of Artprice, which headquarters are the famous Museum of Contemporary Art, the Abode of Chaos

The Contemporary Art Museum The Abode of Chaos on Facebook:

The Abode of Chaos/Demeure du Chaos Contemporary Art Museum by thierry Ehrmann,author, sculptor, artist, photograph


Artprice fête ses 20 ans, édito de thierry Ehrmann, Plasticien, Fondateur et PDG d’Artprice.

2017/10/07 Commentaires fermés

Artprice a 20 ans. Au regard de l’économie numérique et de ses défis, elle est centenaire.

Société mythique, elle a connu l’introduction la plus démente de l’histoire de la bourse de Paris. Elle a dépassé en quelques heures les 400 millions EUR de capitalisation.

Elle a vécu des descentes aux enfers après la crise des valeurs Internet en 2000, les attentats du 11 septembre 2001, la guerre du Golfe, la crise financière de 2007 et la liste est longue. Mais elle a aussi connu, par sa démarche iconoclaste, des procès fleuves intentés par des monstres nourris des siècles de monopole où l’omerta et l’opacité régnaient en maîtres absolus sur le Marché de l’Art.

Elle a supporté, de certaines castes, des haines inimaginables, des fantasmes qui dépassent l’entendement mais elle s’est relevée à chaque fois en devenant de plus en plus forte et aguerrie.

Elle a, par Internet, où sa maison-mère Groupe Serveur règne depuis 1987 comme pionnier, métamorphosé le vieux monde de l’Art.

Son siège social est légendaire, selon Time Magazine, « La Demeure du Chaos », qui est au sein du Musée d’Art Contemporain L’Organe, renommée par le New York Times « The Abode of Chaos », où travaillent ses fidèles collaborateurs, de véritables experts passionnés entre salles blanches informatiques et fonds documentaire de manuscrits et catalogues.

Artprice a bâti la plus grande banque de données au monde sur le Marché de l’Art, avec un fonds d’archivage quasi-étatique, puis en 2005 Artprice a conçu la plus grande MarketPlace Normalisée au monde d’œuvres d’Art.

Elle s’est imposée comme Leader mondial de l’information sur le Marché de l’Art en produisant, entre autres, pour plus de 7 200 médias, les fils d’informations en continu sur le Marché de l’Art, à l’instar des agences de presse financière comme Bloomberg.

Elle a aussi initié 4,5 millions de membres qu’elle remercie de leur fidélité. Il en est de même avec les 6300 Maisons de ventes, fidèles partenaires dans leur contribution avec Artprice.

Le vieil adage boursier « Cours vu, cours revu » s’est vérifié trois fois en 20 ans, faisant d’Artprice peu à peu une valeur mythique qu’on ne peut appréhender qu’avec une vision du XXIème siècle et ses changements de paradigme qui compriment l’espace-temps.

Pas un seul joueur en bourse, – les vrais, les durs, les purs -, ne peut s’empêcher de posséder un ticket Artprice.

Artprice détient un cénacle d’actionnaires qui ferait rêver certaines sociétés du CAC40.

Les fidèles actionnaires d’Artprice sont des gens puissants, redoutables et silencieux, ceux qui entre autres, par leur famille, règnent en maîtres depuis des centaines d’années sur le plus vieux Marché du monde et qui bien avant le public, avaient compris que la mutation par Artprice était irrémédiable.

N’oublions pas que l’homme échangeait des œuvres d’Art bien avant de frapper monnaie.

Ce cénacle d’actionnaires hors norme se retrouve dans ma citation qui rend hystérique certain(e)s « Le Marché de l’Art, c’est les Marchés financiers en 10 fois plus intelligent et cruel. ».

Mais quel est donc ce Graal que des hommes exceptionnels, comme le Docteur Hippolyte Mireur au XIXème siècle, Enrique Mayer au XXème et tant d’autres personnages célèbres, ont cherché en vain avant de rejoindre Artprice avec leurs fonds de commerce éditorial ?

Ce Graal métaphorique que seules l’Alchimie et sa Materia Prima (le Chaos Alchimique) définissent, sont les équations et algorithmes qui permettent d’expliquer le prix de l’Art et sa parfaite construction.

Oser toucher au vieil adage « L’Art n’a pas de prix » constituait, pour l’ancien régime traditionaliste qui se glisse dans le clair-obscur, une offense absolue.

Artprice, en 20 ans de combat historique et légendaire, a su ouvrir les portes du Temple de l’Art au profane.

Il y a une décennie environ, une célèbre historienne et sociologue du Marché de l’Art m’a indiqué qu’Artprice est immortelle, non pas par sa fonction économique mais parce qu’elle a modifié, de manière irrémédiable, l’Histoire de l’Art et son Marché.

Artprice a démontré que l’Art avait un prix structuré et très élaboré dans un marché efficient qui est bien plus réfléchi et mature que d’autres marchés.

Je ne peux m’empêcher de penser, entre autres, aux Marchés financiers où les taux d’intérêts deviennent négatifs et au Quantitative Easing (QE), que nos grands-parents appelaient plus simplement la planche à billets et qui ne rassurent pas vraiment les épargnants.

Alors oui, Artprice a 20 ans ! L’âge où tout est permis pour aller dévorer le nouveau monde qui accouche et aller danser sur les cendres de la vieille économie qui ne sait pas qu’elle est déjà morte.

Attention, Artprice a 20 ans mais 100 ans de combat, d’expérience, de sagesse et de détermination.

Nous savons, comme notre vieux maître Marcel Duchamp nous l’a appris, que nos plus féroces détracteurs sont les plus grands contributeurs de la réussite mondiale d’Artprice.

À nos fidèles actionnaires de l’ombre, un grand merci pour votre confiance indéfectible.

Le mot de la fin est qu’Artprice n’a jamais modifié son capital et m’a toujours désigné comme Fondateur, PDG et principal actionnaire car je suis convaincu de la croissance exponentielle d’Internet et de ce changement de paradigme unique dans l’histoire de la modernité.

Artprice n’en est qu’à ses débuts.

L’aventure continue de plus belle … thierry Ehrmann


Copyright thierry Ehrmann 1987/2017

Artprice 20th birthday, editorial by thierry Ehrmann, Artist, founder and CEO of Artprice.

2017/10/07 Commentaires fermés

Artprice is 20 today. That might sound young to some, but in terms of the digital economy, that’s very old indeed.

A legendary organisation in many respects, Artprice experienced the most extraordinary IPO in the history of the Paris stock exchange, reaching a capitalization in excess of EUR 400 million within hours.

It has suffered severe corrections as well, notably after the new-tech stocks crash in 2000, nine-eleven, the 2nd Gulf War, the financial crisis of 2007 and a number of other exogenous events, and its iconoclastic approach has made it the target of lengthy lawsuits brought by monopolistic behemoths riding on centuries of Art Market omerta and opacity.

Artprice has survived a climate of irrational animosity from certain quarters, sometimes involving outlandish fantasies; but each attack has made the company stronger… and wiser.

Using the Internet – a domain in which its parent company Groupe Serveur has been a dominant pioneer since 1987 – Artprice has completely transformed the Art Market.

Its operational headquarters are located at a site Time Magazine described as the “legendary” Demeure du Chaos. The site, referred to as “The Abode of Chaos” by the New York Times, is also the “Organe” Contemporary Art Museum, where its loyal employees – from digital white rooms to documentary collections, mansucripts and catalogs – are enthusiastic experts.

Artprice has built the largest Art Market databank in the world with a almost State-sized archive base. In 2005, Artprice set up the largest Standardized Marketplace for artworks in the world.

It has become global leader in Art Market Information by providing, among other services, real-time streams of Art Market information for more than 7,200 media outlets such as the financial news agency Bloomberg.

It has also given insight to its 4.5 million loyal subscribers, whom it thanks for their loyalty. This also applies to the 6,300 Auction Houses it works with, loyal partners in their contribution with Artprice.

The old stock-market adage « prices peaks usually return » has been confirmed no less than three times in 20 years, making the Artprice share a legendary stock that cannot be understood without a clear grasp of the spatio-temporal paradigm shifts driving the 21st century.

Artprice is a “must-have” stock for all investors ans gamblers… whatever their strategy.

It has a cenacle of shareholders that would make a number of CAC 40 companies green with envy.

Its loyal shareholders are powerful, formidable and discreet people, including, among others, members of families that have held strong positions in the world’s oldest market for hundreds of years (mankind exchanged artworks well before currencies) and who – well before the public – understood that Artprice’s vision of the art market was totally unavoidable.

Artprice’s exceptional family of shareholders is reflected in my somewhat provocative observation that “the Art Market is like financial markets… only ten times smarter and ten times more unforgiving”.

So what exactly is this ‘secret chalice’… this ‘Grail’… that so many people have sought in vain – including exceptional men like Dr. Hippolyte Mireur (19th century) and Enrique Mayer (20th century) whose carefully-compiled registers of art market exchanges are now a part of Artprice?

This metaphorical ‘Grail’, that can only be apprehended by Alchemy and its Prima Materia (Alchemical Chaos), is in fact a set of equations and algorithms that explain art prices and expose how they are formed.

For the art market’s old regime lurking in the twilight, the adage « Art has no price » was the core of a deliberately mystifying ideology.

Over 20 years of historical and legendary combat, Artprice has opened the gates of the Temple of Art to the profane.

Ten or so years ago, a famous Art Market historian and sociologist told me that Artprice was immortal, not for its economic function, but rather for the irrevocable changes it has brought to the Art Market and, therefore, to Art History.

Artprice has demonstrated that art does have structured and highly sophisticated price mechanisms, in an efficient market that is substantially more rational and mature than many other markets.

Financial markets offer a particularly poor comparison at a time when negative interest rates and quantitative easing (QE) (a concept that our grandparents referred to simply as “money printing”) do little to reassure savers.

So yes… Artprice is now 20… an age of freedom and exploration; an age in which the emerging new world can dance on the ashes of the old economy that has not yet understand it is already dead.

Artprice may be 20, but it has already acquired a 100 years of experience, wisdom and combative energy.

We know – as our mentor Marcel Duchamp taught us – that our fiercest critics are the biggest contributors to the global success of Artprice.

To our loyal shareholders, a big thank you for your unfailing confidence.

As a final word: Artprice has never modified its capital structure and has repeatedly designated myself, its Founder, as its CEO and principal shareholder. The exponential growth of the Internet and the current paradigm shift – unique in the history of modernity – continue to fuel my belief that Artprice is still very much in its early stages.

The Artprice adventure continues with supreme confidence and vigour.

thierry Ehrmann

Copyright thierry Ehrmann 1987/2017

2017: The Art Market in 140 characters by #ARTPRICE $PRC on @Twitter

2017/01/16 Commentaires fermés

2017: The Art Market in 140 characters by on

2017: The Art Market in 140 characters by #ARTPRICE $PRC on @Twitter

2017: The Art Market in 140 characters by #ARTPRICE $PRC on @Twitter

thierry ehrmann

Fire licorn

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