Result of the research : 'hotel'
The Authenticity of African Sculptures
by Henri Kamer
The issue of authenticity of African art has been central to collectors for decades. Henri Kamer, who was president of the International Arts Experts Association at the time, published an outstanding account of the state of the matter in Artes d'Afrique Noire, No. 12 (1974). The text that follows is extracted from an English translation of that article, and has been edited further. The original includes a number of illustrations. They are not included here because I believe the text suffices without them.
The original version, including the illustrations, in French and with the English translation, is
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Hôtel Drouot
Création 1852
Dates clés 1976 : Déménagement à la gare d'Orsay (Paris)
1980 : Installation dans les nouveaux locaux de la rue Drouot (Paris)
Forme juridique société anonyme
Siège social Drouot Richelieu
9, rue Drouot
75009 Paris (France)
Direction Maître Georges Delettrez
Actionnaires Les membres de la Compagnie des commissaires-priseurs de Paris
Activité(s) marché de l'art, enchères
Société(s) sœur(s) Drouot Montaigne,
Drouot Montmartre,
Drouot Véhicules
Filiale(s) Drouot Formation,
Drouot Presse,
Drouot Documentation
Site Web www.drouot.com
L'Hôtel des ventes de Drouot est le principal hôtel des ventes de Paris. Avec ses 21 salles réparties sur 4 sites, ses 3 000 ventes annuelles durant lesquelles s’échangent quelques 800 000 lots, l'Hôtel Drouot est une plaque tournante du marché de l'art français et international.
Les salles de vente
Drouot Richelieu
Drouot Montaigne
Historique
Depuis l’avènement des commissaires-priseurs, les ventes avaient lieu, lorsque l’espace y était suffisant, au domicile du vendeur ou, pour les ventes plus importantes, dans des locaux loués spécialement à cet effet. Ce sera notamment le cas de la vente de la collection de gravures et estampes de Jean de Julienne qui se tiendra dans le grand salon carré
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l'union des commissionnaires de l'hôtel des ventes :
est une corporation née en 1832 qui abrite environ 110 membres, (manutentionnaires et déménageurs) tous savoyards depuis le milieu du XIX ème siècle. En 1852 l'inauguration de Drouot unique salle des ventes de la compagnie parisienne, renforça leur position. profitant du référendum organisé en 1860 par Napoléon III pour le rattachement de la Savoie à la France ; les commissionnaires ont alors réclamé le privilège exclusif de leur corporation. Ils possèdent des parts égales de l'union, et sont responsables sur leur biens propres;
L'Hôtel Drouot a annoncé aujourd'hui qu'il allait supprimer le
monopole de fait détenu par l'UCHV (Union des commissionnaires de
l'Hôtel des Ventes) après la mise en examen de plusieurs des membres de
cette corporation dans une affaire de vols de tableaux et d'objets d'arts
L'UCHV, qui assure le transport et la manutention des objets vendus à
Drouot, est une corporation, créée en 1832, qui comprend actuellement
110 commissionnaires, surnommés les "Savoyards" ou les "collets rouges".
Le conseil d'administration de Drouot a décidé que le transport des
objets d'art, principalement assuré par l'UCHV, sera désormais
également confié à plusieurs prestataires extérieurs ayant auparavant
reçu l'agrément de Drouot, a indiqué l'hôtel des ventes dans un
communiqué. Ces agréments seront délivrés à des prestataires
"respectueux des règles de déontologie et d'éthique", précise Drouot
qui est en train de rédiger un cahier des charges.
Le conseil d'administration de Drouot a
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Marius de Zayas "Mrs Brown-Potter" by Marius de Zayas. Published in Camera Work, No 29 1910Marius de Zayas Enriquez y Calmet (March 13, 1880-January 10, 1961), was an early 20th century Mexican artist, writer and art gallery owner who was influential in the New York arts circles of the 1910s and 1920s. Life
De Zayas was born to wealthy and aristocratic parents in Veracruz, Mexico. His father, Rafael de Zayas (1848–1932) was a noted journalist, novelist, dramatist, poet and lawyer. He established two newspapers in Veracruz, and it was there that his sons Marius and George developed their artistic careers by providing illustrations for the papers. In 1906 the two brothers began providing caricatures for Mexico City's leading newspaper El Diario, which was founded by American-born journalist Benjamin De Casseres. A year later the de Zayas newspapers took a strong editorial stance against Mexican President Porfirio Diaz, and under threat their family left Mexico and settled in New York. Shortly after arriving in New York, de Zayas took a position drawing caricatures for the New York Evening World, and he quickly established a reputation for his witty parodies of prominent citizens. Through his connections with other artists in the city he became acquainted with Alfred Stieglitz, and in January 1909 Stieglitz exhibited a group of de Zayas's caricatures at his art gallery, "291". A year later Stieglitz gave de Zayas another exhibit in which he brought his caricatures to a three-dimensional level. On a large wooden platform he created more than 100 free-standing cardboard cutouts of some of New York's most prominent people, seen strolling down Fifth Avenue in front of the Plaza Hotel. The show became such a hit that lines were often stretched far outside the doorway to the
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Tristan Tzara
Born April 4 or April 16, 1896
Moineşti, Kingdom of Romania
Died December 25, 1963 (aged 67)
Paris, France
Pen name S. Samyro, Tristan, Tristan Ruia, Tristan Ţara, Tr. Tzara
Occupation poet, essayist, journalist, playwright, performance artist, composer, film director, politician, diplomat
Nationality Romanian, French
Writing period 1912–1963
Guillaume Apollinaire, Henri Barzun, Fernand Divoire, Alfred Jarry, Jules Laforgue, Comte de Lautréamont, Maurice Maeterlinck, Adrian Maniu, Filippo Tommaso Marinetti, Ion Minulescu, Christian Morgenstern, Francis Picabia, Arthur Rimbaud, Urmuz, François Villon, Walt Whitman
Influenced
Louis Aragon, Marcel Avramescu, Samuel Beckett, André Breton, William S. Burroughs, Andrei Codrescu, Jacques G.
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Arman
Armand Pierre Arman
Birth name Armand Pierre Fernandez
Born November 17, 1928(1928-11-17)
Nice, France
Died October 22, 2005 (aged 76)
New York City
Nationality French
Field Sculpture, Painting, Printmaking
Movement Nouveau Réalisme
Influenced by Kurt Schwitters, Vincent van Gogh, Surrealism, Dada, Serge Poliakoff, Nicolas de Stael
Arman (November 17, 1928 – October 22, 2005) was a French-born American artist.Born Armand Pierre Fernandez in Nice, France, Arman is a painter who moved from using the objects as paintbrushes ("allures d'objet") to using them as the painting itself. He is best known for his "accumulations" and destruction/recomposition of objects.
Biography
Arman's father, Antonio Fernandez,
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Edvard Munch
Born 12 December 1863(1863-12-12)
Ådalsbruk in Løten, Norway
Died 23 January 1944 (aged 80)
Oslo, Norway
Nationality Norwegian
Edvard Munch (Norwegian pronunciation: [ˈmuŋk], 12 December 1863 – 23 January 1944) was a Norwegian Symbolist painter, printmaker and an important forerunner of expressionistic art. His best-known composition, The Scream, is part of a series The Frieze of Life, in which Munch explored the themes of life, love, fear, death, and melancholy.
Biography
Youth
Edvard Munch was born in a rustic farmhouse in the village of Ådalsbruk in Løten, Norway to Christian Munch, the son of a prominent priest. Christian was a doctor and medical officer who married Laura Cathrine Bjølstad, a woman half his age, in 1861. Edvard had an older sister, Johanne Sophie (born 1862), and three younger siblings: Peter Andreas (born 1865), Laura Cathrine (born 1867), and Inger Marie (born 1868). Both Sophie and Edvard appear to have inherited their artistic talent from their mother. Edvard Munch was related to painter Jacob
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Paris is for some years the worldwide capital of the market of the first Arts of Africa and of Oceania, strong of a tradition inherited from a colonial past and from an infatuation, at the beginning of last century, from artists as Picasso or Matisse for "Negro art". The opening of the museum of the quai Branly, unveiling of which provokes at the end of June a charged week, public sales - of which that announced exceptional of the collection Vérité on June 17th and 18th in Drouot - confirms this tendency.
For the expert Pierre Amrouche, "it is in Paris where there are most galleries specialised in First arts, it is in France where there are most collectors of first Arts, it is in France that the most important auctions of first Arts are held and it is in France that there will be so
on the most important museum of first Arts", he sums up.
Paris "regrouped all elements" cultural and commercial - museums and market - before dispersed between Brussels, New York and France, adds Margaret de Sabran, responsible of African and Oceanian art for Sotheby' s Paris.
The turnover is impossible to know because transactions are made so much on sales public that in galleries or between collectors. But for Mrs de Sabran, "of 50 inpubliques 60 pc sales of Africain and Oceanian art in the world are made in Paris", remaining pre-Columbian art especially in the United States.
The first "important sales of
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Tristan Tzara (born Samuel or Samy
Rosenstock, also known as S. Samyro; April 4 or April 16, 1896 –
December 25, 1963) was a Romanian and Frenchavant-garde poet, essayist and performance
artist. Also active as a journalist, playwright, literary and art critic,
composer and film director, he was known best for being one of the founders and
central figures of the anti-establishmentDada movement. Under
the influence of Adrian Maniu, the adolescent
Tzara became interested in Symbolism and co-founded the magazine Simbolulwith Ion Vinea (with whom he also wrote experimental poetry) and painter Marcel
Janco. During World War I, after briefly collaborating on Vinea's Chemarea, he joined Janco in Switzerland.
There, Tzara's shows at the Cabaret Voltaire and Zunfthaus zur Waag, as well as his poetry and art
manifestos, became a main feature of early Dadaism. His work represented
Dada's nihilisticside, in contrast with the more moderate approach favored by Hugo Ball. After moving to Paris in 1919, Tzara, by then one of the "presidents of
Dada", joined the staff of Littérature magazine, which
marked the first step in the movement's evolution toward Surrealism.
He was involved in the major polemics which led to Dada's split, defending his
principles against André Breton and Francis
Picabia, and, in Romania, against the eclecticmodernism of
Vinea and Janco. This personal vision on art defined his Dadaist plays The Gas
Heart (1921) and Handkerchief of Clouds (1924). A
forerunner of automatist techniques, Tzara eventually
rallied with Breton's Surrealism, and, under its influence, wrote his
celebrated utopianpoem The Approximate Man. During the final part of his career, Tzara combined his humanist and anti-fascistperspective with a
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Arman (November 17, 1928 – October 22, 2005), was a French-born Americanartist.Born Armand Pierre Fernandez in Nice, France, Arman is
a painter who moved from using the objects as paintbrushes ("allures
d'objet") to using them as the painting itself. He is best known for his
"accumulations" and destruction/recomposition of objects. BiographyArman's father, Antonio Fernandez, an antiques dealer in Nice, was also an
amateur artist and photographer, as well as a cellist. From his father, Arman
learned oil
painting and photography. After receiving his bachelor's degree in
philosophy and mathematics in 1946, Arman began studying at the Ecole Nationale
d'Art Decoratif in Nice. He also began learning Judo at a police Judo
School in Nice where he met the artists Yves Kleinand Claude Pascal. The trio would
bond closely on a subsequent hitchhiking tour of the nations of Europe. Completing
his studies in 1949, Arman enrolled as a student at the École
du Louvre in Paris,
where he concentrated on the study of archaeology and oriental art. In 1951,
Arman became a teacher at the Bushido Kai Judo School. During this time he also
served in the French military, completing his tour of duty as a medical orderly
during the Indo-Chinese War. Early careerEarly in the development of his career, it was apparent that Arman's concept
of the accumulation of vast quantities of the same objects was to remain a
significant component of his art. Ironically, Arman had
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