The Salon Art+Design by SNA & la Biennale-Paris

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#2 The Salon New York

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EDITORIAL

Paul Jenkins, Phenomena Spectrum Dipper, 1976, acrylic on canvas, 77.6 x 78.7 inches (©Galerie Diane de Polignac, Paris).

FROM THE BANKS OF THE SEINE TO THE SHORES OF THE HUDSON

Special issues of Connaissance des Arts Publisher Francis Morel Editor-in-chief Guy Boyer Director of Development Philippe Thomas Production manager Anaïs Barbet Layout Franck Zennaro Picture researcher Virginie Huet Translation Tagline Advertising: Les Échosmedias email: pubcda@lesechosmedias.fr Managing Director Cécile Colomb Sales Director, Art and Classics Frédéric Pion Director, Les Échos Lifestyle Anne-Valérie Œsterlé Deputy Advertising Director Magali Harmange Client Directors Sophie Lavigne, Charlotte Maurange, Virginie Roche, International Advertising Director Caroline Farin-Antebi Contributors to this issue Jérôme Coignard, Benjamin Courtois, Elodie de Dreux-Brézé, Michael Evans, Marie Maertens, Valérie de Maulmin. Special issues of Connaissance des Arts are published by Société Française de Promotion Artistique, SARL (limited company), capital: €150,000. Connaissance des Arts is a Groupe Les Échos publication. Chairman and CEO Francis Morel Delegate Managing Director Christophe Victor Delegate Director Bernard Villeneuve Director of Arts et Classique section Claire Lénart Turpin 16, rue du Quatre-Septembre, 75112 Paris Cedex 02 Tel.: +33 (0)1 44 88 55 00 Fax: +33 (0)1 44 88 51 88 e-mail: cda@cdesarts.com 304 951 460 RCS. Paris Joint Commission 1005 K 79964 – ISSN 1242-9198 Photoengraving: Planète Couleurs, Paris Printed by Etic at Laval, on LumiSilk 130 gr paper supplied by Storaenso, from certified sustainable forests.

The hybrid space of the new Palais de Tokyo restaurant, Monsieur Bleu, designed by architect Joseph Dirand (©Adrien Dirand)

Have you noticed how Paris and New York have become more human in recent months? Just a short Citi Bike ride from the High Line, the wharfs along the Hudson River have been transformed into sun worshipping parks, and Broadway between 47th and 42nd Streets has sprouted tables and garden chairs for passers-by in a hurry. It’s all a million miles away from the legendary city that never sleeps, so is New York acquiring a hint of French lifestyle? Over the same period, the number of Seine-side terraces with views of the Eiffel Tower seems to have multiplied. This summer, the right bank has been transformed into an enormous balcony of hanging gardens; the Monsieur Bleu restaurant by interior designer Joseph Dirand, who designed the Pucci store in New York, has appeared in the new wing of the Palais de Tokyo, and the Shangri-La has reserved its first floor outdoor space for its top barman Christophe Léger. These two brand-new Paris addresses convey a ‘party chic’ unusual in the French capital. So is there a wind of New York elegance now blowing along the banks of the Seine? Guy Boyer, EDITOR-IN-CHIEF OF CONNAISSANCE DES ARTS, GBOYER@CDESARTS.COM

CATHEDRALS 1789-1914 A MODERN MYTH

ROUEN - MUSÉE DES BEAUX-ARTS APRIL 12TH - AUGUST 30TH 2014 www.rouen-musees.fr

E N JO Y

NOR M A N D

L’exposition est coproduite avec le Wallraf Museum de Cologne. L’exposition est réalisée avec les prêts exceptionnels du musée d’Orsay. Elle bénéﬁcie également des prêts exceptionnels du musée des Arts Décoratifs. Claude Monet, La Cathédrale de Rouen. Le Portail et la tour d’Albane. Temps gris, 1894 © C. Lancien - C. Loisel / Musées de la Ville de Rouen / réalisation : l’Atelier de communication

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CONTENTS 28 34

6 NEWS GALLERIES 14 NEWS THE SALON 14

28 DESIGN TABLEWARE 34 FASHION JEWELLERY 40 GASTRONOMY PASTRIES 46 REAL ESTATE 50 MY NEW YORK BY GUY COGEVAL

40 46 50

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NEWS GALLERIES

1. From the Paola Pivi exhibition ‘OK you are better than me, so what?’ Galerie Perrotin, New York, 2013 (©Paola Pivi, Photo: Guillaume Zicarelli, courtesy Galerie Perrotin) 2. From the Rematerialized exhibition, New Galerie, New York (©Photo: Nicholas Knight, courtesy New Galerie) 3. The Penetrables installation by Hélio Oiticica, Galerie Lelong, New York, 2012 (©Hélio Oiticica, courtesy Galerie Lelong) 4. Interior of the Opera Gallery, New York (©Opera Gallery)

CONTEMPORARY ART GALLERIES: FROM PARIS TO NEW YORK The latest Paris-based gallery – Galerie Emmanuel Perrotin – opened for business in Madison Avenue on September 18. Concurrently celebrating the 25th anniversary of his Paris gallery, the ‘French Gagosian’ shunned the traditional haunts of contemporary art, like Chelsea and the Lower East Side, in favour of the Upper East Side, home to modern art dealers and wealthy collectors. Its first exhibition focused on the work of Paola Pivi to be followed by that of KAWS. As part of working more closely with artists and expanding its market, the New Galerie opened a second art space in the American capital last year. We should not forget that Gallery Director Marion Dana represents the high-profile Ryan Trecartin and Lizzie Fitch, as well as the promising Parker Ito. Here in the Theater District, 6

the gallery joined the US incarnation of Balice Hertling, which is now more of an experimental space. Galerie Lelong opened on this side of the Atlantic in 1985, only four years after opening in Paris. Since then, it has moved to its current Chelsea location, where it promotes Yoko Ono, Jaume Plensa, Alfredo Jaar and the estates of deceased artists, such as Nancy Spero. On the other hand, the Opera Gallery has chosen the retail hotspot of SoHO to present some of its many artists, who range from Picasso to Rancinan. Although the chain has a presence in eight countries, its New York gallery focuses primarily on works by Andy Warhol, Mauro Corda and Li Tianbing. M.M. n

perrotin.com n newgalerie.com

galerie-lelong.com

operagallery.com

113 PP

A R T

L I G H T I N G S

creator - maker since 1923

3, rue de la CitĂŠ Universitaire 75014 Paris tel. +33 (0) 145 88 77 24 fax. +33 (0) 145 65 32 62 New catalog 128 p. $ 30 ( reimbursed at your first purchase )

Tuesday to Friday: 9 am -12 noon / 1 pm - 6 pm Saturday: 10 am -12 noon / 2 pm - 7 pm

www.perzel.com

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PORTRAITS PARIS/NEW YORK THE PROUSTIAN ART OF JACQUES GRANGE

(©Eric Jansen)

He is well known to all dealers, many of whom were delighted to have seen The Salon’s Honorary Committee Chairman strolling through the aisles of the fair on so many occasions last year. The fact is that this interior designer is as famous for his client list as for his work. François Pinault, Alain Ducasse, Isabelle Adjani, Princess Caroline of Monaco, the Coppola family and Valentino have all drawn on the style of this Boulle and Camondo art school-trained arbiter of style. For Pierre Bergé and Yves Saint Laurent, he also developed his style inspired by Madeleine Castaing, with whom he began his career. In New York, he has created special worlds for Paloma Picasso jewellery, the Mark Hotel and the Barbizon Hotel. Jacques Grange loves shimmering, but well-structured interiors, so the sparkle of gilt is softened by dominant whites and rich fabrics that give his interiors a very welcoming quality. As a collector of 19th and 20th century art, his interest is focused on historical places and gardens. Some of his designs have a Proustian feel and style, and his Paris apartment was once home to the novelist Colette. M.M.

Having worked in high fashion and luxury goods for 20 years, Terry de Gunzburg struck off in a new direction in 1998 with her own signature makeup range – By Terry. Her first name is all that is required to identify the remarkable woman who introduced the concept of “High Colour” and – since 2012 – “High Perfumery”. Having learned her skills at Carita, her first photo shoot for Vogue encouraged her to develop a look that would lay the foundations for her future work. Her graphic facial style proved irresistible to photographers like Helmut Newton, Patrick Demarchelier and Guy Bourdin. Monsieur Saint Laurent himself may have taught her the secrets of colour, but she still loves to mix and juxtapose the purest possible pigments. Terry de Gunzburg is also a collector of modern art, contemporary art and art deco furniture. In her own home, which was the first Paris house designed by architect Hector Guimard and whose interior design has been entrusted to her friend Jacques Grange, many different sources of inspiration come together, because, as she says: “A real home interprets and reflects who you are; it’s all about inner beauty”. M.M.

BEAUTY BY CHRISTIAN COURTIN

The story of Clarins is the story of a family. The business was founded in 1954 by Jacques Courtin, who was joined 20 years later by his eldest son Christian. Initially attracted by the idea of journalism and with great ideas of being a globetrotter, Christian toured Asia and the USA at the age of 14. When he joined the family firm in 1974, it was only logical that he should create the post of Export Director and open up the world of his brand to 128 countries. Today, all its products are still manufactured in France, although 87% of them are exported. Christian Courtin is extremely sensitive to the issues of sustainable development and protecting the natural world. He extols the virtues of gardening and walking, and has created the Clarins Men Environnement Award. Now Chairman of a group of companies that also owns the Azzaro, Thierry Mugler and Porsche Design brands, he quotes the concept of sharing and respect exemplified by the missionary nun Sister Emmanuelle, whom he once met. The moment he feels the slightest hint of stress, he reaches for his Tibetan finger cymbals and looks further forward… M.M. n

clarins.fr

TERRY DE GUNZBURG AND PURE COLOUR

20th century Decorative art & contemporary furniture 14, rue de Seine . 75006 paris . tel.: + 33 (0)1 44 07 34 73 www.alexandrebiaggi.com â&#x20AC;&#x201C; info@alexandrebiaggi.com

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PORTRAITS PARIS/NEW YORK GUILLAUME FÉAU FROM PARIS TO CHICAGO

(©Didier Herman)

The ﬁrst boiserie wooden panelling by Maison Féau dates from 1875, when the Rothschild family was already a client. During the 20th century, successive owners gave their commitment to continuing this passion for grand French wood panelling, and none more so than Joël Féau, the grandfather of Guillaume, who currently heads the business. The tradition remains an ancestral heritage, but projects are now underway from Chicago to Tokyo, and Guillaume Féau is a very familiar face at many art fairs, including the Paris Biennale des Antiquaires, alongside the dealers for whom he creates bespoke stands. Whether new creative work or reconstruction, the secret lies in highly detailed documentation covering the period from the 17th century through to the 1940s, with some panelling designs bearing the prestigious names of Eugène Printz and Jacques-Emile Ruhlmann. The company’s work can be admired in the MET and the Getty Museum, but its Paris studio in the 17th arrondissement is the place to see the many pilasters, columns and bas-relief carvings that together create such an impressive repertoire of forms… M.M. n

feau-immobilier.fr

The Chairman of Maison Pommery earned his stripes in the Champagne adventure by doing every job in the business, from grape buyer to administrator and salesman. Today, the brand also includes Demoiselle, Heidsieck Monopole and Charles Laffite. Europe is conquered, but P-F V now wishes to develop a number of speciﬁc markets, including the USA. Pommery is a partner of The Salon, but the brand is anything but a beginner when it comes to culture. Together with his wife Nathalie, Paul-François Vranken has been hosting temporary exhibitions in the cellars of the Pommery estate since 2002, also supports the Le Printemps de Septembre festival of contemporary creativity in Toulouse, and began work in 2009 on restoring the symbolic Villa Demoiselle in Reims. The couple have been tireless in their scouring of auction rooms for pieces by Anthony Selmersheim, who originally furnished this villa in the Boulevard Henry Vasnier, which was originally built for Louise Pommery. It is now open to the public, and also hosts the International Festival of Food Photography, which celebrates not only the taste, but also the aesthetics of food. M.M. n

vrankenpommery.fr

SILVIO DENZ AESTHETE AND ENTREPRENEUR

With a love for wine and fragrances in equal measure, Lalique CEO Silvio Denz is seen as both aesthete and entrepreneur. Born in Basel as the son of a businessman, he completed his business and marketing studies in Switzerland, the UK and the USA. This experience taught him to recognise a good deal when he saw one; lessons he very quickly put into practice by developing a small perfumery business to the point where it attracted the acquisitive attention of the Marionnaud brand. His fortune was made! Since then, he has gone on to create Art & Fragrance and acquire the Bordeaux wine estates of Château Faugères and Château Chambrun, before extending his interests to include a number of Swiss and Spanish vineyards. Known as one of the greatest collectors of Lalique crystal, the company’s employees sought him out when the famous name was at risk of disappearing. He agreed to buy the company in 2008 and bring it into the modern world. Since everything he touches gains a special sparkle, he has entered into partnership with architect Zaha Hadid and cobranded a revolutionary iPod dock and speaker with Jean Michel Jarre. Passionate about architecture, Silvio Denz is also a collector of paintings and, together with Lalique, one of the partners of The Salon. M.M. n

lalique.com

POMMERY MAKES THE SALON SPARKLE

Jacques ADNET

Makassar France, 19 avenue Matignon 75008 Paris - France

+33 1 53 96 95 85 - makassar-france@wanadoo.fr - www.makassar-france.com

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PORTRAITS PARIS/NEW YORK JEAN-MARC DECROP, LINKING ASIA & THE MID EAST

©DR

Back in 2001, Jean-Marc Decrop was the ﬁrst European to become a qualiﬁed specialist in contemporary Chinese art. He had been interested in the subject since 1992, when he started a collection. He moved to Hong Kong a year later. So what challenges does he face today? Making a success of Yallay Space, the 600m2 premises in Wong Chuk Hang, a former industrial area of Hong Kong, which should, in his view, become a centre for art and design. He has joined forces with Fabio Rossi, who began travelling in Asia at an early age with his mother, the London-based gallery owner and Asian arts expert Anna Maria Rossi. He too has lived in Hong Kong for over two decades. Rather than just showing contemporary Asian art, what they seek to do is throw a bridge to the Middle East. Yallay comes front the Arabic expression yallah, meaning let’s go. Artists from Tibet, South East Asia and Central Asia will hopefully soon be exhibited alongside those from Arab countries, Iran and Turkey. The exhibition in the month of October is dedicated to the Russian painter Konstantin Bessmertny. M.M. n

rossirossi.com

Inspired by the family vineyards around her, Mathilde Thomas founded the Caudalie brand in 1993. It was also her meeting with Professor Joseph Vercauteren, a specialist in polyphenols – the organic molecules present throughout the plant kingdom – that first made her aware of the hidden secrets of the grape pip. The result is that vines can also be very good for the skin. The story begins in a small number of Bordeaux pharmacies with skincare creams and nutritional supplements, and continues with the formation of a team of researchers. The owner of Château Smith Haut Laffite also embarked on a project to open the vineyard to the public, and later discovered a hot water spring that enabled the creation of the first Vinotherapy Spa. Mathilde Thomas now lives in New York as she develops her brand in the USA. Her friends include shoe designer Manolo Blahnik, whose Connecticut farm supplies her with organic fruit and vegetables. During the week, she rides a bike from her Upper East Side offices to her first US store opened on super-trendy Bleecker Street. M.M. n fr.caudalie.com

OLIVIER RAIDT, THE SOUL OF PERZEL

The motto of the business has remained unchanged for three generations: to enhance faces and interiors by the use of superb lighting. When Jean Perzel opened his workshop in 1923, he could not have imagined that his great-nephew Olivier Raidt would be promoting the same ranges 90 years later. Understandably perhaps, since these austere and understated designs from the 1930s still work so well with today’s interiors. Head of the company since 1994, Olivier Raidt likes to recall that Le Corbusier, Ruhlmann, Mallet-Stevens, the luxury transatlantic liner Le Normandie and the United Nations have all been supplied with lighting by Perzel, and that the products themselves are still made in the same workshop just a short stroll from the Parc Montsouris. Created by around 15 craftsmen, each piece is handmade and unique. So how can you tell the difference between an old Perzel design and a new one? Olivier Raidt can date what he describes as his “babies” to the nearest ﬁve or ten years by spotting tiny differences in terms of the screws used or the interior of a particular lamp. M.M. n

perzel.com

(©Caudalie)

MATHILDE THOMAS, FROM BORDEAUX TO BLEECKER STREET

GALERIE MICHEL GIRAUD PARIS • Certified CNE Art Deco Expert and Art Advisor • FRANCE

By Quinet in 1962 for himself

sergetm@free.fr

A plain bronze patinated tripod side table Height : 20 ½ in. - Diam : 17 ½ in.

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35-37, RUE DE SEINE 75006 PARIS • TÉL. : +33 (0)1 43 25 11 01 email : info@g a l eri eg i ra u d . co m • www.g a l eri emi che lgiraud.com

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Marcel Coard, Console Table, c. 1930, wrought iron patinated with gold leaf, rectangular top and shelf in yellow Sienna marble and pierced Greek motif banding, 70.5 x 88 x 53.5 cm (ÂŠGalerie Marcilhac, Paris)

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THE SALON ART+DESIGN

WHY “THE SALON” IN NEW YORK? For the second year running, The Salon: Art + Design show is being hosted at the Armory. Created by the prestigious Syndicat National des Antiquaires and New York event organiser Sandford L. Smith, it welcomes more than 50 exhibitors from both sides of the Atlantic.

ome years ago, Benoit Sapiro of Galerie Le Minotaure, SNA Chairman Christian Deydier and other dealers began what was to become a series of trips to export the expertise behind the Paris Biennale. “The prime purpose of The Salon is absolutely to establish direct contact with American clients”, explains Benoit Sapiro. “Last year, we welcomed visitors from around the world who had made the trip for the major modern and contemporary art auctions, but we also want to bring in Upper East Side residents, who come here because they are neighbours, but have rather deserted Paris in recent years. If, at the same time, we could encourage American gallery owners to attend the Paris Biennale, then that would be perfect”. Bob Vallois, a dealer who has put a great deal of work into creating this event, believes that becoming more open to the American market is: “An unavoidable continuity that also energises Paris sales, given that many of its galleries have simply not had sufficient exposure in the US until now”. With its mix of periods and genres, the ﬁrst ‘The Salon’ event was very well received in New York, and hailed by the press as an art fair of museum quality. In fact, it was so well received that it persuaded Bob Vallois to extend the experiment to Florida. The ﬁrst Miami Art + Design event is scheduled for February, paving the way for the possibility of future bridges to be built with Russia or China… Marie Maertens

thesalonny.com

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THE SALON ANCIENT ART & 18TH AND 19TH CENTURY ART

From Sumerian antiquities to Victorian furniture Engaged and enthusiastic clients who are not interested exclusively in what happens to be topping the market hit parade give ancient art dealers the opportunity to offer niche pieces within their specialist areas of expertise.

3 1. Christopher Dresser, Spoon warmer, 1880, silver plate (©Galerie Oscar Graf, Paris) 2. Koloman Moser, Chair produced for the dining room in the apartment of Dr Hans and Gerta Eisler Von Terramare, 1902-1903 (©Galerie Yves Macaux, Brussels) 3. Ceremonial object, Sumerian, 3000-2700 B.C., limestone, H. 16 cm (©Galerie Phoenix) 4. André-Charles Boulle, Louis XIV marquetry box, after a design by Jean Berain (©Galerie Kraemer, Paris)

With bases in Geneva and New York, Phoenix Ancient Art saw it as essential to be represented at this fair just a few blocks away from its US gallery. Michael Hedqvist, one of its co-directors, sees it as important to compete enthusiastically in this antiquities market, which has seen a decline in US sales since 2008: “But this is still the country in which institutions remain the most dynamic in terms of acquisitions”. For Laurent Kraemer, attending the fair is more about satisfying the new generation working in the gallery. “We seem to be the only ones in our specialist area, but that doesn’t stop us from presenting a superb selection of Louis xiv, xv and xvI furniture. Although the way we work remains very traditional, it’s important to keep up with today’s trends!” Recently turned 26, Oscar Graf goes even further, and is offering on his stand a chair designed by Herter Brothers for JP Morgan, the founder of the eponymous bank. Purchased from a private American collection, will it returned to its homeland? “I don’t know who I’ll sell it to, but New York is deﬁnitely the most likely city in the world in which to come across the elite of today’s most important clients”. “At the same time as remaining open-minded and enthusiastic”, says Yves Macaux, whose speciality is the furniture of Gustave Serrurier-Bovy. “I’ll be presenting around 20 pieces by this Belgian designer, whose work appears in the MET and Minneapolis Museum collections, but who is still less well known that he deserves to be. Nevertheless, it’s always very enjoyable to see the open-mindedness of American collectors, who can fall in love with a piece and buy it on the spot”. M.M.

THE SALON: ART + DESIGN Stand B6

LE CORBUSIER (1887 – 1965) Madame, la table est dressée 1961

Collage, gouache and ink on paper 15.4 x 20.6 in. ©FLC/Adagp, Paris

20, rue de Seine - 75006 Paris - +33 (0)1 43 26 93 94 - info@galeriezlotowski.fr - www.galeriezlotowski.fr

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1. Yves Klein, SE 298, c. 1960, dry pure pigment in synthetic resin on natural sponge with metal stem, 19.5 x 14 x 5.5 cm (©Galerie Gmurzynska, Cologne) 2. Victor Vasarely, Iaca, 1956, oil on canvas, 99 x 63 cm (©Galerie Le Minotaure, Paris)

3. Arshile Gorky, Untitled (Study for Nighttime, Enigma and Nostalgia), c. 1931-1933, pen and China ink on paper, 55.4 x 76.5 cm (©Estate of Arshile Gorky/ADAGP, Paris, 2013, courtesy Galerie Zlotowski, Paris)

4. Le Corbusier, Deux femmes étendues, 1938, ink, watercolour and graphite mounted on cardboard, 20,7 x 30,4 cm (©Fondation Le Corbusier, courtesy Galerie Brame & Lorenceau, Paris) 5. Egon Schiele, Girl with Yellow Shawl, 1911, watercolour and pencil on paper, 47.6 x 29.2 cm (©Galerie Richard Nagy, London) 6. Frantisek Kupka, Composition in black and white, c. 1930, gouache on paper, 17.6 x 19 cm (©Galerie Le Minotaure, Paris)

7. Roberto Matta, L’aube permanente, 1972, oil on canvas, 101.5 x 97.3 cm (©Galerie Brame & Lorenceau, Paris)

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THE SALON MODERN ART

Celebrating the great names of the 20th century

The Modernists are well represented at The Salon, where some dealers have focused on the 20th century aspect of their collection, with particular emphasis on the period 1910 to 1950. Although it also specialises in the 19th century, one of the high points of the Brame & Lorenceau gallery stand is a work on paper by Le Corbusier, for which there is a sketch on the same subject in the Foundation dedicated to the work of the architect. Antoine Lorenceau: “The rather Modernist atmosphere of the fair persuaded us to focus on this artist, whose name resonates in New York on the basis of everything he contributed to the development of domestic functionality and urban planning”. The artist is also showcased by Galerie Zlotowski, one of his most ardent supporters in Paris, which presents a number of his collages and drawings. Echoing last summer’s MoMA exhibition, the gallery’s stand also features Albert Gleizes, who lived in New York from 1915 to 1919. To be successful at an art fair, you have to adapt to your visitors, which is exactly what is happening at Robilant + Voena, which normally promotes old masters, but has taken the decision to respond to “the considerable interest” shown by American collectors in 1950s Italian art, with a Concetto Spaziale by Lucio Fontana as one of its key pieces. Galerie Boulakia also focuses on its modernist pieces, with works by Marc Chagall, Fernand Léger and Max Ernst. At Galerie Le Minotaure, Benoit Sapiro is always happy to promote the art that is integral to the character of his gallery – the Eastern European avant-garde and the beginnings of abstraction: František Kupka and Léon Tutundjian, but also photographer Erich Comeriner, who studied at the Bauhaus and was a friend of Moholy-Nagy. M.M.

Christian Boutonnet - Rafael Ortiz

J.M FRANK

31, rue de Seine 75006 Paris - TĂŠl. + 33 1 43 29 11 02 - Fax + 33 1 43 29 97 66 - arc-en-seine.galerie@wanadoo.fr - www.arcenseine.com

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www.heliumpublicite.fr

Christian Boutonnet - Rafael Ortiz

PAUL DUPRÉ-LAFON

31, rue de Seine 75006 Paris - Tél. + 33 1 43 29 11 02 - Fax + 33 1 43 29 97 66 - arc-en-seine.galerie@wanadoo.fr - www.arcenseine.com

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1. Armand Albert Rateau, Floor lamp, c. 1920, bronze with green antique patina (©Galerie Vallois, Paris) 2. Jean-Michel Frank, Transat Armchair, c. 1929, white leaded oak, three fabric cushions, Length: 150 x 59 cm (©Galerie L’Arc en Seine, Paris)

3. André Borderie, Coffee table, c. 1960, enamelled ceramic, 37.5 x 118 x l.39 cm (©Galerie Chastel Maréchal, Paris) 4. Emile-Jacques Ruhlmann, Van Beuningen Lady desk, 1932, rosewood and nickel plated bronze, 74 x 109 x 50 cm (©Galerie Marcilhac, Paris)

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THE SALON ART DECO

Rare and sought-after pieces from the 1930s The Art Deco period is particularly popular in New York. Well represented in the most important collections, pieces are becoming increasingly rare, as their increasingly well-researched provenances testify… But the effort is worth it, especially for Galerie Vallois, where 90% of clients are American. The classics from this period are therefore well represented at The Salon, with pieces by Jean-Michel Frank, Jacques-Emile Ruhlmann and Pierre Chareau, which Cheska and Bob Vallois continue to unearth thanks to “a very large database”. Félix-Félix Marcilhac has also based the success of his stand on the names of Ruhlmann and Eugène Printz, having previously commented that last year’s fair attracted not only “The best customers in the world, but also the most inﬂuential interior designers. I’ve therefore been secretly buying my pieces for the last year. It reminds me of the Biennale des Antiquaires effect, when dealers have been known to hide pieces away for two years to spring a surprise at the fair”. Impact is also what Rafael Ortiz, CoDirector of L’Arc-en-Seine, is seeking to achieve with his pieces by Jean-Michel Frank, including a Transat Armchair dated 1929, which has never previously been seen in a gallery, saleroom or fair. “We had to do a great deal of work to acquire it”, he explains with obvious pleasure, “But it was important to reveal it exclusively to our American clients. This 1930’s design has remained totally timeless, and some of these pieces of furniture could easily have been designed today”. Timeless is also a good description of the pieces created by André Sornay, presented by Alain Marcelpoil. “He is better known in the USA than in Paris, perhaps because his modernist take on Art Deco is closer to the architecture of New York than to that of French cities…” M.M.

7 5. Pierre Chareau, Rotating table library, c. 1930, patinated walnut and iron (©Arnaud Carpentier, courtesy Galerie Vallois, Paris) 6. Fulvio Bianconi, Floor lamp produced by Venini, c. 1950, blue glass with vertical stripe decoration, H. 177 cm (©Galerie du Passage, Paris) 7. André Sornay, Pair of bedside tables, c. 1935, ‘nailed’ walnut, ‘log’ base, integrated lighting, 55 x 40 cm (©Galerie Alain Marcelpoil, Paris)

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THE SALON INDIGENOUS ART

Including China, Africa and America Massive in the USA, the indigenous art market has found a natural home at The Salon. Its African masks sit alongside beautiful Chinese archaeological pieces and Pre-Columbian art.

3 1. Mask, Olmec, Mexico, 900-600 B.C., speckled green serpentine (©Galerie Mermoz, Paris) 2. Kongo Statuette, late 19th century, Congo, wood, nails, raffia and magic, H. 66 cm (©Galerie Lucas Ratton, Paris) 3. Dish decorated with a deer, Maya Culture, Guatemala, c. 9001200 A.D., 7 cm (©Galerie 1492) 4. Polo player, terracotta, sancai glaze, Tang Dynasty, 618-907, H. 30 cm (©Galerie Christian Deydier, Paris)

Lucas Ratton may be the only exhibitor of African Art here, but as someone with a dream of opening a gallery in New York, he had no hesitation in seizing the opportunity. He may be only 26 years old, but this young man is no novice in his ﬁeld, since he belongs to the same family as the great dealer Charles Ratton, celebrated this summer by the Musée du Quai Branly in Paris. “He contributed to introducing African art to the USA in the 1930s, and my own impression of today’s American collectors is that they appreciate bold and expressive objects. Visual power is a priority for them”. Santo Micali, founder of Galerie Mermoz, sees a presence at American art fairs as obvious, because that is where the essential core of Pre-Columbian art collectors are to be found. “California is very keen on the art of Veracruz, whilst the East Coast is passionate about Mayan pieces. Since these collectors are already connoisseurs, I really enjoy being able to offer them highly specialised pieces”. President of the Syndicat National des Antiquaires and specialist in Chinese archaeology, Christian Deydier also sees it almost as a duty to bring his best pieces to The Salon. Examples include a Tang horse whose blue glaze gives it a special rarity, because blue pigments did not exist in China at the time, and had to be imported from Persia. As was customary during this dynasty, which reigned from the 7th to the early 10th century, the horse is represented with straight legs, hooves planted ﬁrmly on the ground, neck raised, ears pricked, and on its back, terracotta left in its natural state to give the impression of a hide saddle cloth.

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THE SALON DESIGN & CONTEMPORARY ART

The relationship between design and contemporary creativity

1. Mel Ramos, Hav-a-Havana, 2006, resin, 84 x 200 x 72 cm (©Mel Ramos, courtesy Galerie Trigano, Paris) 2. Ingrid Donat, Table basse rondelle Alu, 2011, aluminium, 44 x 180 x 120 cm (©Ingrid Donat, courtesy Barry Friedman LTD, New York) 3. Jean-Marie Fiori, Horse, 2005, bronze, 152 x 145 x 44 cm (©Jean-Marie Fiori, courtesy Galerie Dumonteil, New York)

It was the wish of the New York team responsible for the fair that design should form a major part of The Salon, which, in overall terms, presents a more contemporary face than the Biennale des Antiquaires in Paris. In design, the Downtown Gallery has selected all-time classics, like Charlotte Perriand. “Her work is tremendously successful in the US, and well-informed collectors often seek out the rarer pieces and special orders, like the two-metre long bookcase we’ll be presenting at the fair”, says François Laffanour. Because this is “A young and energetic fair”, Bernd Goeckler is offering the structured forms created by Fontana Arte in the 1950s. But the dividing line between design and contemporary art can sometimes be tenuous, as the Vincent Dubourg solo show at Carpenters Workshop demonstrates. Produced speciﬁcally for this event, his pieces move away from classic furniture-making towards deconstruction in steel. The same is true of much of the stand dedicated to the work of Ingrid Donat by the Barry Friedman Gallery. Having worked with Diego Giacometti and César at points in her career, her anthropomorphic forms have been replaced by sculptural furniture in which bronze remains a deﬁning material. This medium has also been adopted by Pierre Dumonteil, who, since 2012, has extended his Paris experiment to Park Avenue, paying the same special attention to 20th century animal sculpture. The Salon is a perfect opportunity to compare the artists of the 1930s with contemporary names like Mateo Hernandez and Jean-Marie Fiori. In his homage to New York, Patrice Trigano showcases a two-metre long sculpture by American pop artist Mel Ramos. M.M.

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MY NEW YORK BY GUY COGEVAL

1. Guy Cogeval (©Nicolas Krief) 2. The High Line (©G.B.) 3. Edouard Vuillard, Fillettes se promenant, 1891 (©Coll. Spencer Hays/John Schweikert) 4. Pablo Picasso, Les Demoiselles d’Avignon, 1906 (©Succession Picasso/ akg-images/André Held) 5. View of the show « William Kentridge : Second-hand Reading », Marian Goodman Gallery, New York (©Marian Goodman Gallery, New York)

THE GREATEST CONCENTRATION OF CULTURE It’s thanks to him that Paris shines this autumn with three exhibitions mounted by the curators of the Musée d’Orsay: ‘Félix Vallotton, the Fire beneath the Ice’ at the Grand Palais (2 October to 20 January), ‘Frida Kahlo/Diego Rivera, Art in Fusion’ at the Musée de l’Orangerie (9 October to 13 January) and ‘Masculine / Masculine’ (24 September to 2 January) at the Musée d’Orsay itself. President of the Musée d’Orsay Guy Cogeval has built his career in Paris and Montreal, and believes that New York is, together with London and Paris, the city that “offers the greatest concentration of culture in the form of its museums, contemporary galleries, like the Marian Goodman Gallery, and its private collections, like that of Marlene and Spencer Hays, which we exhibited in 50

Paris this summer”. When he talks about the Museum of Modern Art, his eyes light up simply at the mention of its collections: “I fall on my knees before Picasso’s Demoiselles d’Avignon. On the subject of its hanging: “It’s the most convincing presentation of modern art in the world”. About its programming: “This spring, I saw a consummate exhibition on the birth of abstraction”. New York is also a city of great inter-museum collaboration: “We worked with MoMA on last year’s James Ensor retrospective, and are now working with James Draper and Edouard Papet on preparations for a retrospective of sculptor Jean-Baptiste Carpeaux at the Metropolitan next March”. G.B. n

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