the salon art+design

#2The SalonNew York

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EDITORIAL

Have you noticed how Paris and New York have become more human in recentmonths? Just a short Citi Bike ride from the High Line, the wharfs along theHudson River have been transformed into sun worshipping parks, and Broadwaybetween 47th and 42nd Streets has sprouted tables and garden chairs for passers-byin a hurry. It’s all a million miles away from the legendary city that never sleeps, sois New York acquiring a hint of French lifestyle? Over the same period, thenumber of Seine-side terraces with views of the Eiffel Tower seems to havemultiplied. This summer, the right bank has been transformed into an enormousbalcony of hanging gardens; the Monsieur Bleu restaurant by interior designerJoseph Dirand, who designed the Pucci store in New York, has appeared in thenew wing of the Palais de Tokyo, and the Shangri-La has reserved its first flooroutdoor space for its top barman Christophe Léger. These two brand-new Parisaddresses convey a ‘party chic’ unusual in the French capital. So is there a wind ofNew York elegance now blowing along the banks of the Seine?

Guy Boyer, EDITOR-IN-CHIEF OF CONNAISSANCE DES ARTS, [email protected]

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

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

Special issues of Connaissance des Arts

PublisherFrancis Morel Editor-in-chiefGuy BoyerDirector of DevelopmentPhilippe ThomasProduction managerAnaïs BarbetLayoutFranck ZennaroPicture researcherVirginie HuetTranslationTagline

Advertising: Les Échosmediasemail: [email protected]

Managing Director Cécile ColombSales Director, Art and ClassicsFrédéric Pion Director, Les Échos LifestyleAnne-Valérie ŒsterléDeputy Advertising Director Magali Harmange Client Directors Sophie Lavigne, Charlotte Maurange, Virginie Roche, International Advertising Director Caroline Farin-Antebi

Contributors to this issueJérôme Coignard, Benjamin Courtois, Elodie de Dreux-Brézé, Michael Evans, Marie Maertens, Valérie de Maulmin.

Special issues of Connaissance des Artsare published by Société Française de Promotion Artistique, SARL (limited company), capital: €150,000.Connaissance des Arts is a Groupe Les Échos publication.

Chairman and CEOFrancis Morel Delegate Managing DirectorChristophe VictorDelegate DirectorBernard VilleneuveDirector of Arts et Classique sectionClaire Lénart Turpin

16, rue du Quatre-Septembre, 75112 Paris Cedex 02Tel.: +33 (0)1 44 88 55 00Fax: +33 (0)1 44 88 51 88e-mail: [email protected] 304 951 460 RCS. ParisJoint Commission1005 K 79964 – ISSN 1242-9198 Photoengraving: Planète Couleurs, ParisPrinted by Etic at Laval, on LumiSilk 130 gr paper supplied by Storaenso, from certified sustainable forests.

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


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

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

CATHEDRALS1789-1914A MODERN MYTH

GOETHE|FRIEDRICHCONSTABLE|TURNERHUGO|COROT|MONETSISLEY|RODIN|REDONMOREAU|DELAUNAYKUPKA|CHAGALL|DE STAËL…

ENJOYNORMANDY

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CONTENTS

6 NEWS GALLERIES

14 NEWS THE SALON

28 DESIGN TABLEWARE

34 FASHION JEWELLERY

40 GASTRONOMY PASTRIES

46 REAL ESTATE

50 MY NEW YORK BY GUY COGEVAL

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NEWS GALLERIES

The latest Paris-based gallery – Galerie Emmanuel Perrotin –opened for business in Madison Avenue on September 18.Concurrently celebrating the 25th anniversary of his Parisgallery, the ‘French Gagosian’ shunned the traditional hauntsof contemporary art, like Chelsea and the Lower East Side, infavour of the Upper East Side, home to modern art dealers andwealthy collectors. Its first exhibition focused on the work ofPaola Pivi to be followed by that of KAWS. As part of workingmore closely with artists and expanding its market, the NewGalerie opened a second art space in the American capital lastyear. We should not forget that Gallery Director Marion Danarepresents the high-profile Ryan Trecartin and Lizzie Fitch, aswell as the promising Parker Ito. Here in the Theater District,

the gallery joined the US incarnation of Balice Hertling, whichis now more of an experimental space. Galerie Lelong openedon this side of the Atlantic in 1985, only four years after open-ing in Paris. Since then, it has moved to its current Chelsealocation, where it promotes Yoko Ono, Jaume Plensa, AlfredoJaar and the estates of deceased artists, such as Nancy Spero.On the other hand, the Opera Gallery has chosen the retailhotspot of SoHO to present some of its many artists, who rangefrom Picasso to Rancinan. Although the chain has a presencein eight countries, its New York gallery focuses primarily onworks by Andy Warhol, Mauro Corda and Li Tianbing. M.M.n perrotin.com n newgalerie.com

n galerie-lelong.com n operagallery.com

CONTEMPORARY ART GALLERIES: FROM PARIS TO NEW YORK

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, GalerieLelong, New York, 2012 (©Hélio Oiticica, courtesy Galerie Lelong) 4. Interior of the Opera Gallery, New York (©Opera Gallery)

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A R T L I G H T I N G Screator - maker since 1923

3, rue de la Cité Universitaire 75014 Paristel. +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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TERRY DE GUNZBURG AND PURE COLOUR

THE PROUSTIAN ART OF JACQUES GRANGE

PORTRAITS PARIS/NEW YORK

He is well known to all dealers, many of whom were delighted to have seen The Salon’sHonorary Committee Chairman strolling through the aisles of the fair on so manyoccasions last year. The fact is that this interior designer is as famous for his client list asfor his work. François Pinault, Alain Ducasse, Isabelle Adjani, Princess Caroline ofMonaco, the Coppola family and Valentino have all drawn on the style of this Boulle andCamondo art school-trained arbiter of style. For Pierre Bergé and Yves Saint Laurent, healso 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 Hoteland 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 hisinteriors a very welcoming quality. As a collector of 19th and 20th century art, his interestis focused on historical places and gardens. Some of his designs have a Proustian feel andstyle, 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 offin a new direction in 1998 with her own signature makeup range – By Terry. Her first nameis 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, herfirst photo shoot for Vogue encouraged her to develop a look that would lay the foundationsfor her future work. Her graphic facial style proved irresistible to photographers likeHelmut Newton, Patrick Demarchelier and Guy Bourdin. Monsieur Saint Laurent himselfmay have taught her the secrets of colour, but she still loves to mix and juxtapose the purestpossible pigments. Terry de Gunzburg is also a collector of modern art, contemporary artand art deco furniture. In her own home, which was the first Paris house designed byarchitect Hector Guimard and whose interior design has been entrusted to her friendJacques 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.

The story of Clarins is the story of a family. The business was founded in 1954 by JacquesCourtin, who was joined 20 years later by his eldest son Christian. Initially attracted bythe idea of journalism and with great ideas of being a globetrotter, Christian toured Asiaand the USA at the age of 14. When he joined the family firm in 1974, it was only logicalthat he should create the post of Export Director and open up the world of his brand to128 countries. Today, all its products are still manufactured in France, although 87% ofthem are exported. Christian Courtin is extremely sensitive to the issues of sustainabledevelopment and protecting the natural world. He extols the virtues of gardening andwalking, and has created the Clarins Men Environnement Award. Now Chairman of agroup of companies that also owns the Azzaro, Thierry Mugler and Porsche Designbrands, he quotes the concept of sharing and respect exemplified by the missionary nunSister 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

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BEAUTY BY CHRISTIAN COURTIN


20th century Decorative art & contemporary furniture

14, rue de Seine . 75006 paris . tel.: + 33 (0)1 44 07 34 73www.alexandrebiaggi.com – [email protected]

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POMMERY MAKES THE SALON SPARKLE

The first boiserie wooden panelling by Maison Féau dates from 1875, when the Rothschildfamily was already a client. During the 20th century, successive owners gave their commitmentto continuing this passion for grand French wood panelling, and none more so than JoëlFéau, the grandfather of Guillaume, who currently heads the business. The traditionremains an ancestral heritage, but projects are now underway from Chicago to Tokyo, andGuillaume Féau is a very familiar face at many art fairs, including the Paris Biennale desAntiquaires, alongside the dealers for whom he creates bespoke stands. Whether newcreative work or reconstruction, the secret lies in highly detailed documentation coveringthe period from the 17th century through to the 1940s, with some panelling designs bearingthe prestigious names of Eugène Printz and Jacques-Emile Ruhlmann. The company’swork 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 carvingsthat 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 bydoing every job in the business, from grape buyer to administrator and salesman. Today,the brand also includes Demoiselle, Heidsieck Monopole and Charles Laffite. Europe isconquered, but P-F V now wishes to develop a number of specific markets, including theUSA. Pommery is a partner of The Salon, but the brand is anything but a beginner whenit comes to culture. Together with his wife Nathalie, Paul-François Vranken has beenhosting temporary exhibitions in the cellars of the Pommery estate since 2002, alsosupports the Le Printemps de Septembre festival of contemporary creativity in Toulouse,and began work in 2009 on restoring the symbolic Villa Demoiselle in Reims. Thecouple have been tireless in their scouring of auction rooms for pieces by AnthonySelmersheim, who originally furnished this villa in the Boulevard Henry Vasnier, whichwas 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 alsothe aesthetics of food. M.M.n vrankenpommery.fr

With a love for wine and fragrances in equal measure, Lalique CEO Silvio Denz is seen asboth aesthete and entrepreneur. Born in Basel as the son of a businessman, he completed hisbusiness and marketing studies in Switzerland, the UK and the USA. This experience taughthim to recognise a good deal when he saw one; lessons he very quickly put into practice bydeveloping a small perfumery business to the point where it attracted the acquisitive attentionof 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 asone of the greatest collectors of Lalique crystal, the company’s employees sought him outwhen the famous name was at risk of disappearing. He agreed to buy the company in 2008and bring it into the modern world. Since everything he touches gains a special sparkle, hehas entered into partnership with architect Zaha Hadid and cobranded a revolutionary iPoddock and speaker with Jean Michel Jarre. Passionate about architecture, Silvio Denz is also acollector of paintings and, together with Lalique, one of the partners of The Salon. M.M.n lalique.com

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SILVIO DENZ AESTHETE AND ENTREPRENEUR

GUILLAUME FÉAU FROM PARIS TO CHICAGO

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Jacques ADNET

Makassar France, 19 avenue Matignon 75008 Paris - France+33 1 53 96 95 85 - [email protected] - www.makassar-france.com

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

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

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MATHILDE THOMAS,FROM BORDEAUX TO BLEECKER STREET

Back in 2001, Jean-Marc Decrop was the first European to become a qualified specialistin contemporary Chinese art. He had been interested in the subject since 1992, when hestarted a collection. He moved to Hong Kong a year later. So what challenges does heface 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 artand design. He has joined forces with Fabio Rossi, who began travelling in Asia at anearly age with his mother, the London-based gallery owner and Asian arts expert AnnaMaria Rossi. He too has lived in Hong Kong for over two decades. Rather than justshowing contemporary Asian art, what they seek to do is throw a bridge to the MiddleEast. 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 fromArab countries, Iran and Turkey. The exhibition in the month of October is dedicated tothe Russian painter Konstantin Bessmertny. M.M.n rossirossi.com©

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JEAN-MARC DECROP, LINKING ASIA & THE MID EAST


GALERIE MICHEL GIRAUDPARIS • Certified CNE Art Deco Expert and Art Advisor • FRANCE

serg

etm@free

.fr

By Quinet in 1962 for himselfA plain bronze patinated tripod side tableHeight : 20 ½ in. - Diam : 17 ½ in.

35-37, RUE DE SEINE 75006 PARIS • TÉL. : +33 (0)1 43 25 11 01email : [email protected] • www.galer iemichelgiraud.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(©Galerie Marcilhac, Paris)


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1. Benoit Sapiro (©All rights reserved) 2. Christian Deydier(©Luc Castel) 3. Fernando Botero, Horse, 2010, marble,H. 47 cm (©Fernando Botero, courtesy Galerie Tasende)

WHY “THE SALON”IN NEW YORK?

Some 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

n thesalonny.com

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 exhibitorsfrom both sides of the Atlantic.

THE SALON ART+DESIGN

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With bases in Geneva and New York, Phoenix Ancient Art saw it as essen-tial 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 competeenthusiastically in this antiquities market, which has seen a decline in USsales since 2008: “But this is still the country in which institutions remainthe most dynamic in terms of acquisitions”. For Laurent Kraemer, attend-ing the fair is more about satisfying the new generation working in thegallery. “We seem to be the only ones in our specialist area, but thatdoesn’t stop us from presenting a superb selection of Louis xiv, xv andxvI furniture. Although the way we work remains very traditional, it’simportant to keep up with today’s trends!” Recently turned 26, Oscar Grafgoes even further, and is offering on his stand a chair designed by HerterBrothers for JP Morgan, the founder of the eponymous bank. Purchasedfrom 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 likelycity in the world in which to come across the elite of today’s most important clients”. “At the same time as remaining open-minded andenthusiastic”, says Yves Macaux, whose speciality is the furniture of Gustave Serrurier-Bovy. “I’ll be presenting around 20 pieces by this Belgiandesigner, whose work appears in the MET and Minneapolis Museum collections, but who is still less well known that he deserves to be. Never-theless, it’s always very enjoyable to see the open-mindedness of Americancollectors, who can fall in love with a piece and buy it on the spot”. M.M.

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 DrHans and Gerta Eisler Von Terramare, 1902-1903 (©GalerieYves Macaux, Brussels) 3. Ceremonial object, Sumerian,3000-2700 B.C., limestone, H. 16 cm (©Galerie Phoenix)4. André-Charles Boulle, Louis XIV marquetry box, aftera design by Jean Berain (©Galerie Kraemer, Paris)

From Sumerian antiquitiesto Victorian furniture Engaged and enthusiastic clients who are not interested exclusivelyin what happens to be topping the market hit parade giveancient art dealers the opportunity to offer niche pieces withintheir specialist areas of expertise.

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

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LE CORBUSIER (1887 – 1965)Madame, la table est dressée1961Collage, gouache and ink on paper15.4 x 20.6 in.©FLC/Adagp, Paris

20, rue de Seine - 75006 Paris - +33 (0)1 43 26 93 94 - [email protected] - www.galeriezlotowski.fr

THE SALON: ART + DESIGN

Stand B6

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1. Yves Klein, SE 298,c. 1960, dry pure

pigment in syntheticresin 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 onpaper, 55.4 x 76.5 cm

(©Estate of ArshileGorky/ADAGP, Paris,

2013, courtesy GalerieZlotowski, Paris)

4. Le Corbusier, Deux femmes étendues,

1938, ink, watercolourand 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 andpencil 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 &

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Although it also specialises in the 19th century, one of the high points of theBrame & Lorenceau gallery stand is a work on paper by Le Corbusier, forwhich there is a sketch on the same subject in the Foundation dedicated tothe 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 thedevelopment of domestic functionality and urban planning”. The artist isalso showcased by Galerie Zlotowski, one of his most ardent supporters inParis, which presents a number of his collages and drawings. Echoing lastsummer’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, youhave to adapt to your visitors, which is exactly what is happening at Robilant+ Voena, which normally promotes old masters, but has taken the decisionto respond to “the considerable interest” shown by American collectors in1950s Italian art, with a Concetto Spaziale by Lucio Fontana as one of its keypieces. Galerie Boulakia also focuses on its modernist pieces, with works byMarc 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 alsophotographer Erich Comeriner, who studied at the Bauhaus and was a friendof Moholy-Nagy. M.M.

THE SALON MODERN ART

Celebrating the greatnames of the 20th centuryThe Modernists are well represented at The Salon, wheresome dealers have focused on the 20th century aspect of theircollection, with particular emphasis on the period 1910 to 1950.

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J.M FRANK

31, rue de Seine 75006 Paris - Tél. + 33 1 43 29 11 02 - Fax + 33 1 43 29 97 66 - [email protected] - www.arcenseine.com

Christian Boutonnet - Rafael Ortiz

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PAUL DUPRÉ-LAFON

31, rue de Seine 75006 Paris - Tél. + 33 1 43 29 11 02 - Fax + 33 1 43 29 97 66 - [email protected] - www.arcenseine.com

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Christian Boutonnet - Rafael Ortiz

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1. Armand AlbertRateau, 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 ChastelMaréchal, Paris)

4. Emile-JacquesRuhlmann,

Van Beuningen Lady desk,

1932, rosewood and

nickel plated bronze, 74 x 109 x 50 cm

(©Galerie Marcilhac, Paris)

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But the effort is worth it, especially for Galerie Vallois, where 90% of clientsare American. The classics from this period are therefore well represented atThe Salon, with pieces by Jean-Michel Frank, Jacques-Emile Ruhlmann andPierre Chareau, which Cheska and Bob Vallois continue to unearth thanks to“a very large database”. Félix-Félix Marcilhac has also based the success of hisstand on the names of Ruhlmann and Eugène Printz, having previously commented that last year’s fair attracted not only “The best customers in theworld, but also the most influential interior designers. I’ve therefore beensecretly buying my pieces for the last year. It reminds me of the Biennale desAntiquaires effect, when dealers have been known to hide pieces away for twoyears to spring a surprise at the fair”. Impact is also what Rafael Ortiz, Co-Director of L’Arc-en-Seine, is seeking to achieve with his pieces byJean-Michel Frank, including a Transat Armchair dated 1929, which has neverpreviously been seen in a gallery, saleroom or fair. “We had to do a great dealof work to acquire it”, he explains with obvious pleasure, “But it was impor-tant to reveal it exclusively to our American clients. This 1930’s design hasremained totally timeless, and some of these pieces of furniture could easilyhave been designed today”. Timeless is also a good description of the piecescreated by André Sornay, presented by Alain Marcelpoil. “He is better knownin the USA than in Paris, perhaps because his modernist take on Art Deco iscloser to the architecture of New York than to that of French cities…” M.M.

THE SALON ART DECO

Rare and sought-afterpieces from the 1930sThe Art Deco period is particularly popular in New York.Well represented in the most important collections, pieces arebecoming increasingly rare, as their increasingly well-researchedprovenances testify…

5. Pierre Chareau, Rotating table library, c. 1930, pati-nated walnut and iron (©Arnaud Carpentier, courtesyGalerie Vallois, Paris) 6. Fulvio Bianconi, Floor lamp produced by Venini, c. 1950, blue glass with verticalstripe 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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Lucas Ratton may be the only exhibitor of African Art here, but as some-one with a dream of opening a gallery in New York, he had no hesitationin seizing the opportunity. He may be only 26 years old, but this youngman is no novice in his field, since he belongs to the same family as thegreat dealer Charles Ratton, celebrated this summer by the Musée duQuai Branly in Paris. “He contributed to introducing African art to theUSA in the 1930s, and my own impression of today’s American collectorsis that they appreciate bold and expressive objects. Visual power is a pri-ority for them”. Santo Micali, founder of Galerie Mermoz, sees a presenceat American art fairs as obvious, because that is where the essential coreof Pre-Columbian art collectors are to be found. “California is very keenon the art of Veracruz, whilst the East Coast is passionate about Mayanpieces. Since these collectors are already connoisseurs, I really enjoy beingable to offer them highly specialised pieces”. President of the SyndicatNational des Antiquaires and specialist in Chinese archaeology, ChristianDeydier 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 beimported from Persia. As was customary during this dynasty, whichreigned from the 7th to the early 10th century, the horse is represented withstraight legs, hooves planted firmly on the ground, neck raised, earspricked, and on its back, terracotta left in its natural state to give theimpression of a hide saddle cloth.

THE SALON INDIGENOUS ART

1. Mask, Olmec, Mexico, 900-600 B.C., speckled greenserpentine (©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. 900-1200 A.D., 7 cm (©Galerie 1492) 4. Polo player, terra-cotta, sancai glaze, Tang Dynasty, 618-907, H. 30 cm(©Galerie Christian Deydier, Paris)

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

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In design, the Downtown Gallery has selected all-time classics, like Charlotte Perriand. “Her work is tremendously successful in the US, andwell-informed collectors often seek out the rarer pieces and special orders,like the two-metre long bookcase we’ll be presenting at the fair”, saysFrançois Laffanour. Because this is “A young and energetic fair”, BerndGoeckler is offering the structured forms created by Fontana Arte in the1950s. But the dividing line between design and contemporary art cansometimes be tenuous, as the Vincent Dubourg solo show at CarpentersWorkshop demonstrates. Produced specifically for this event, his piecesmove away from classic furniture-making towards deconstruction in steel.The same is true of much of the stand dedicated to the work of IngridDonat by the Barry Friedman Gallery. Having worked with Diego Giacometti and César at points in her career, her anthropomorphic formshave 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 ParkAvenue, paying the same special attention to 20th century animal sculpture.The Salon is a perfect opportunity to compare the artists of the 1930s withcontemporary names like Mateo Hernandez and Jean-Marie Fiori. In hishomage to New York, Patrice Trigano showcases a two-metre long sculpture by American pop artist Mel Ramos. M.M.

1. Mel Ramos, Hav-a-Havana, 2006, resin, 84 x 200 x 72 cm(©Mel Ramos, courtesy Galerie Trigano, Paris) 2. IngridDonat, Table basse rondelle Alu, 2011, alu minium, 44 x180 x 120 cm (©Ingrid Donat, courtesy Barry FriedmanLTD, New York) 3. Jean-Marie Fiori, Horse, 2005, bronze,152 x 145 x 44 cm (©Jean-Marie Fiori, courtesy GalerieDumonteil, New York)

The relationship between design andcontemporary creativity It was the wish of the New York team responsible for the fairthat design should form a major part of The Salon, which, inoverall terms, presents a more contemporary face than the Biennale des Antiquaires in Paris.

THE SALON DESIGN & CONTEMPORARY ART

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It’s thanks to him that Paris shines this autumn with threeexhibitions 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 inFusion’ at the Musée de l’Orangerie (9 October to 13 January)and ‘Masculine / Masculine’ (24 September to 2 January) atthe Musée d’Orsay itself. President of the Musée d’OrsayGuy Cogeval has built his career in Paris and Montreal, andbelieves that New York is, together with London and Paris,the city that “offers the greatest concentration of culture inthe form of its museums, contemporary galleries, like theMarian Goodman Gallery, and its private collections, likethat of Marlene and Spencer Hays, which we exhibited in

Paris this summer”. When he talks about the Museum ofModern Art, his eyes light up simply at the mention of its collections: “I fall on my knees before Picasso’s Demoisellesd’Avignon. On the subject of its hanging: “It’s the most convincing presentation of modern art in the world”. Aboutits programming: “This spring, I saw a consummate exhibi-tion on the birth of abstraction”. New York is also a city ofgreat inter-museum collaboration: “We worked with MoMAon last year’s James Ensor retrospective, and are now workingwith James Draper and Edouard Papet on preparations for aretrospective of sculptor Jean-Baptiste Carpeaux at the Met-ropolitan next March”. G.B.n musee-orsay.fr n mariangoodman.com

THE GREATEST CONCENTRATION OF CULTURE

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, LesDemoiselles d’Avignon, 1906 (©Succession Picasso/ akg-images/André Held) 5. View of the show « William Kentridge : Second-hand Reading », Marian GoodmanGallery, New York (©Marian Goodman Gallery, New York)

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