|
Each week our specialists publish a research paper about Art and its markets.
Antiques, painting, drawing, sculpture, furniture, fine art, porcelain, ceramic, work of art, carpet, tapestry, silver are among the subject studied.
You can receive our free weekly research paper by email by subscribing to our newsletter.
 Pierre Guariche is a French designer of the 50s, from the "younger generation" emerging after the Second World War. First designer and integrator, it will be one of the founders of the ARP, then after artistic director of the Belgian firm Meurop, he turned to his dream: the interior design.
After his graduation at the Ecole Nationale Supérieure des Arts Décoratifs in 1949, he entered the studio of Marcel Gascoin where he developed a taste for the creation of functional furniture and daily use as well as industrial materials. After exhibiting at Salon des Arts Ménagers in 1951 he began his first collaborations with emerging new publishers. First with the gallery Mai and with young publishers Hugues Steiner, Charles and Minvielle Disderot, for them he developed a wide range of chairs, storage furniture and fixtures.
He is the first French to use the technology of the base shell. This technology was developed in the United States by designers Charles Eames and Arne Jacobsen from the 40s. The use of moulded plywood allows manufacturing a seat integrally. La chaise Papyrus (1950) and chaise Tonneau (1951) Pierre Guariche will be the first models sold in France. Subsequently, he developed a wide range of seats and chairs in wood and metal as well as many alternatives to the chaise Tonneau.
During his career, Pierre Guariche produced a considerable number of lights: it is estimated that between 30 and 40 designs all different. The majority of them were created between 1950 and 1959 for the Editor and friend Pierre Disderot. Pierre Guariche develops its fixtures Danish system operator and Rotaflex Disderot greatly helps to develop new uses techniques of metal. Indeed, Pierre Guariche grew up in a family of goldsmiths and supported his knowledge Breguet High School. His first models are applied to simple pendulum (1951) and the double pendulum lamp Equilibrium (1952), already demonstrated great technical dexterity. Indeed, as a main concern Pierre Guariche conceal the light source (bulb) to create indirect lighting, comfortable and aesthetic. The culmination of his research is undoubtedly expressed through the range Cerf-volant (1952), real light sculptures.
The whole career is punctuated Pierre Guariche large collaborations, marked by the desire to create more functional furniture always, innovative, comfortable and aesthetic.
Since the 2000s, the multiplication of exhibitions around the 50s as "Mobi Boom" allows you to know the too often forgotten the "younger generation". While viewers certainly know Charlotte Perriand, Jean Prouvé and Le Corbusier, the focus is on young designers’ reconstruction: Pierre Paulin, Michel Mortier, Joseph Andre Motte, Antoine Philippon and Lecoq Jeannine, Alain Richard, Jean René Caillette...... Guariche was never forgotten of gallery owners and collectors, but these rediscoveries allow a wider diffusion of its production.
Its prices on the art market are changing slowly approaching the price of the biggest names in design. Since 2004-2005, auctions around Guariche are growing and increasing prices.
Chaise Tonneau , tulip or Vampire are worth between 300 and 500 €, approaching the price of the standard CM131 of Pierre Paulin or chaise Tulipe by Eero Saarinen.
Lots fetches the highest prices, because they have never ceased to interest major retailers are of high quality fixtures. We note that the floor lamps Cerf-volant and Equilibium now reaching € 15,000.
This craze around the production from Guariche especially around its lighting is enhanced by exposure of the Galerie Pascal Cook: « Pierre Guariche, créateur de lumière 1950-1959 » until 27 October 2012.
 Sunday, September 30, SVV Le Floc'h in collaboration of our firm will auction in St. Cloud, prints, drawings, old and modern paintings, sculptures, Asian art and furniture and works of art.
We offer you a small overview of lots which have retained our attention in different specialties.
Among the old masters paintings have a look on lot 37 which is a "Lamentation du Christ". This oil on canvas of the Flemish school of the seventeenth century was painted after an engraving of a painting by Peter Paul Rubens. Note that the artist made a variant by replacing the St. Francis of the original by the old man on the left. Our painting measures 170 cm by 160 cm and is estimated to 3 000 to 4 000 Euros. (main illustration)
In modern paintings, we are interested in Lot 65, an oil on paper signed Jules René Hervé measuring 27 cm by 22 cm high and conservatively estimated 100 to 150 Euros. An opportunity for lovers of this French neo-impressionist painter to have fun without breaking the bank.
» More
 Joseph-Marie, dit Jef van der Veken (1872-1964) est un peintre anversois renommé pour avoir restauré avec un soin inégalable des peintures de Primitifs flamands. Copiste sans pareil, l’apogée de sa carrière de restaurateur est sans aucun doute la copie des « Juges intègres » de l’ Agneau Mystique de Jan van Eyck, réalisée en 1945.
Very early his special skills to make copies of old paintings allow him to turn to a career imitator at the end of his academic training in Antwerp. » More
 Whether reading an auction catalogue an art magazine or by discussing with an artist, your attention has been drawn by these three words "resale right" forming an enigmatic expression for the uninitiated.
Before going further, let's say it is a tax on the resale of a work of art that is paid to the artist.
Let us have a look on the history of the resale right, its rate and its beneficiaries.
Â
History
Â
Established in France in 1920, the legend tells that it was put in place after the sale of a painting by Jean-François Millet, The Angelus executed in 1858 for a huge sum in respect of the purchase price despite that the family the painter lived in poverty. Like all legends, it must have its truth and so France was the first country to organize the subsistence of its artists, knowing the glory only late and could not enjoy the benefits of their genius.
Â
Type of art
Â
The resale right applies to "original works of graphic or plastic created by the author himself, such as pictures, collages, paintings, drawings, engravings, prints, lithographs, sculptures, tapestries, ceramics, glassware, photographs and audiovisual creations of plastic or digital. "
Â
It should be emphasized that the prints are excluded if posthumously executed even if they are limited in number and they were made under the supervision of the beneficiaries of the artist.
Â
How long
Â
The tax levied on the resale of a work of art, at auction, or in a gallery is donated to the artist or his family for 70 years after the death of the artist.
Â
It applies to all artists in the European Union and the countries with similar rules.
Â
Rates
Â
In France, the right is paid by the seller as a work considered as a sell profit sharing. In contrast, in the UK, it is paid by the buyer and catalogues focus on lots possibly subject to avoid any misunderstanding when purchasing a modern painting at auction for example.
Â
- 4% to €50 000
- 3% from €50 001 to €200 000
- 1% from €200 001 to €350 000
- 0.5% from €350 001 to €500 000
- 0.25% in excess of €500 001
Â
» More
 On June 27 and 28, Christie's London organized the largest auction of European postwar and contemporary art with a total of £148,283,125.
Francis Outred, Christie's Head of Post-War & Contemporary Art, Europe: "We are now operating in a truly global art market where the demand for masterpieces defines the collector’s passion. The very special place in art history and unique nature of works such as the Francis Bacon, Study for Self Portrait or Yves Klein’s Le Rose du Bleu is hard to quantify in value. (…) Price knows no barrier if a work has the magic, be it by an established master or a young emerging artist. Bidders and buyers from most continents are seeking to build collections of the highest quality and our outstanding results this week show that Europe is reinforcing its role as a global market centre for the greatest post-war and contemporary art".
» More
 July 4, Sotheby's London will auction an exceptional ormolu and patinated bronze ink stand, made circa 1735 and attributed to the silversmith Juste-Aurele Meissonier. This work of art is estimated £200,000 to £300,000. » More
Quizz
Published : June, 26 2012
 Soon on holidays? And if this year you were doing like your kids, a little review of your classics ...? If you get stuck, do not worry, everything is in the previous articles of Authenticite!
» More
 June 14, the SVV Art Valorem, assisted by experts of the cabinet Authenticite, sold an important display cabinet executed by Lexcellent circa 1900 for the record price of 38,000 Euros.
Lot 345 the auction catalogue described our piece of furniture as a "vitrine montée" in mahogany, mahogany veneer and with inlays of wood.
Prior to progress further into the catalogue entry it seems essential to define the piece of furniture which derived from the cabinet. The upper part of the cabinet opens by one or more doors holding on a stand. This type of furniture that appears in the second half of the nineteenth century is rarely found.
Our display cabinet opened by three glass panels doors, three drawers at the bottom and rests on a base opening in the belt by three drawers.
It should be emphasized the harmony of the front of our furniture which is punctuated by fluted columns. At the top it has an arched cornice and each column is surmounted by a foliated pinnacle.
Now lets have a look to the beautiful pedestal supporting our display cabinet. Matching the shape of a console, it is supported on eight fluted , tapered legs joined by a particularly elaborate stretcher which can be related to creation of two great cabinetmakers of the end of the Louis XVI period, , Adam Weisweiler Ferdinand Schwerdfeger . It seems that it has inspired the architecture and design of our furniture that can be compared to the “serre bijoux” executed for Queen Marie Antoinette at Versailles either in the arrangement of the base or in the form of curved belt in the middle.
» More
|
