The Auctions Database of Ancient Arts from Africa, Asia, Oceania and the Americas.
Brussels, 23 January 2018
Like most collectors flocking to BRAFA, Harold t’Kint de Roodenbeke likes the month of January. President of the fair for the sixth consecutive year, he reveals to Artkhade with AMA the key points of the strategy for the Brussels-based fair. Verbatim.
With nearly 25,000 artifacts and works of art, presented by 135 exhibitors, BRAFA is an event not to be missed. Considered one of the top five global art fairs, it takes place in January and is also the fair which sets the pace for the art market. Following the Paris biennale in September, Frieze Masters in October in London and shortly before the Maastricht TEFAF in March, BRAFA is a key date in the diary for all lovers of fine art. A major European event held at the stylish brick and wrought iron Tour & Taxis site, BRAFA signals the return to trading for the year. It is important to keep in mind that on this international stage whilst 30% of traders are Belgian, the bulk of those in attendance come from the other 15 countries represented, from Canada to Japan. The key characteristic of BRAFA [.../...]See more
Geneva, 23 September 2017
The MEG is dedicating an exhibition to the diversity and wealth of Australia’s arts. “L’Effet boomerang. Les arts aborigènes d’Australie”, thus offers insight into the colonisation of this country, from a political and aesthetic perspective.
It was in 1770 that British explorer James Cook, acting as a representative of King George III, became the first Westerner to set foot on the Terra incognita, today known as Australia. Even if the land was already populated, the explorer still dubbed this territory as Terra nullius – “no man’s land”, an expression that says a great deal about the way indigenous people were long considered as a primitive society.
However, the “material culture” developed by Australia’s 270 or so ethnicities over the 60,000 years in which they had inhabited the territory would whet the interest of Western travellers. Many European goods were exchanged for local fetishes, sometimes painlessly, for the Aborigines had the means to reproduce these artefacts easily.
It was during this period that [.../...]See more
Paris, 15 September 2017
They’re the ones who murmur into the ears of collectors. Gallerists play a crucial role in the tribal-art economy. For this special issue, a number of them, each with their own specialities, have agreed to share their feelings on the sector. Confidences.
At auctions, the eclectic nature of the tribal-art market indicates sure growth in the long term, both in terms of the number of lots placed on sale and their proceeds, even if the last three years have seen heavy fluctuations, if not a slight decline. However, by overshadowing the reality of the world of dealers, auction results are only a partial indicator of the health of a sector characterised by deep restructuring. Between a generational shift among collectors, sourcing difficulties, and a complex balance between auction houses and dealers, what does the future hold?
Collectors: a new generation takes the reins? In the eyes of Alain Lecomte from the gallery Abla & Alain Lecomte, specialised in ancient African arts, there’s no doubt about it: the sector is in for a shakeup: “The [.../...]See more
Paris, 13 September 2017
What are the evolutions and limitations of the tribal-art market? How is it nurtured by the contributions of research and ethnology? Alex Arthur offers us a few indications…
Alexander Arthur is a well-informed collector and a fine connoisseur of tribal arts. For over twenty years, he has been the publishing director of Tribal Art Magazine. In 2009, he also became involved, with Pierre Moos, in the management of Parcours des Mondes.
-You are one of the key protagonists of Parcours des Mondes. How have you seen the fair evolve?
A.A.: I actually participated in the very first Parcours so I remember well how it consisted of only a handful of galleries. But the concept was a good one and it grew rapidly into the world’s premier event. The event grew in quality as has the market overall and Parcours des Mondes has become the annual focal point for many galleries today, a situation that is reflected in the quality of many artworks on show and the number of thematic exhibitions.
-Tell us about vetting at the fair.
A.A.: Like [.../...]See more
Paris, 12 September 2017
As every year since 2001, the fair takes place in Saint-Germain-des-Prés for a week devoted to tribal art. Until 17 September, this gathering of 67 merchants offers a guaranteed change of scenery in the heart of Paris.
Parcours des Mondes, the fair steered by Pierre Moos – also managing director of Tribal Art magazine – has become the most important event in its field, leaping ahead of its most reputed European rivals. Incontestable success that confers on Parcours des Mondes its unique renown. No small feat, seeing how the schedule of events around classic African, Pacific, pre-Columbian and Asian arts, has taken off. Between the BRAFA and the BRUNEAF in Brussels, the TEFAF in Maastricht, the Tribal Art Fair in Amsterdam and London, and even Frieze New York which, this year, backed the decision to welcome tribal-art dealers in its alleys — Donald Ellis (New York, Vancouver), L & R Entwistle and Co (London) and Galerie Meyer (Paris) —, one thing is sure: we can no longer keep count of the number of international rendezvous organised in [.../...]See more
Paris, 12 September 2017
-You have directed Parcours des Mondes since 2007. How do you view the evolution of the fair and of the tribal-art market?
P.M.: Parcours des Mondes was created in response to a demand from tribal-art dealers. As its name indicates, this fair is an international event, open to all forms of extra-European artistic cultures. For around ten years now, we’ve been working on our communication strategy for the event: we devote 80 % of Parcours des Mondes’ proceeds on expenses relating to press relations, advertising and marketing. This publicity, coupled with that associated to the auction sale of key pieces, helps to raise awareness on tribal art all over the world, and this is positive. Finally, the recent opening up of the fair to the Asian arts proves, if proof were still necessary, the major role of Paris on the global art market. All these elements explain why Parcours is the world’s most important fair in tribal art today… To give you an idea, some dealers who take part in the event produce, in just a few days, three quarters of [.../...]See more
Paris, 4 September 2017
Stratospheric-level auctions, overheated prices… The market for archaeological and tribal pieces is booming! We retrace the phenomenon of star status for these highly coveted objects. An issue that we examine by seeing what dealers, collectors and members of the scientific community have to say…
Ever since the start of the 2000s, the tribal-art market has literally exploded, with its turnover jumping up from €13.7 million in 2001 to €92.1 in 2014. Despite this strong growth, tribal art remains a marginal market, which represents only 0.68 % of the global turnover of art auction sales, in other words, 40 times less than the proportion occupied by modern art, according to a report published by Artkhade and Art Analytics in December 2015.
Largely in front, Africa and Oceania leave other geographical zones behind in the shadows. Between 2000 and 2014, these two continents represented 64.8 % of lots offered at auctions and 81 % of the sector’s total sales proceeds. Above all, the market’s growth has been accompanied by a [.../...]See more
Besanceuil, 14 March 2017
Jean-François Schmitt is an art-lover and collector. He is a Friend of the musée du Quai Branly – Jacques Chirac and a member of the Cercle Lévi-Strauss.
Anthony Meyer is a dealer, author, and specialist in Pacific and Eskimo ancient arts and traditional cultures. He manages the Meyer Gallery of Oceanic Arts in Paris and is one of the founders of the Bourgogne Tribal Show, along with Laurent Dodier, Bruno Frey, Jacques Lebrat and Bruno Mory.
For its second event, the Bourgogne Tribal Show will take place from 25th to 28th May, 2017. You both took part in the fair’s first event, one as a dealer, one as a collector. Could you share your experiences with us?
Jean-François Schmitt: My abiding memory of the first event is what a pleasure it was to see tribal art in less conventional settings. The atmosphere was very different from the other fairs, far more casual and convivial.
Its location in the Burgundy region was ideal too, [.../...]See more
New York, 2 October 2016
The galleries participating in the inaugural TEFAF New York exhibition, to be held at the Park Avenue Armory from 21 to 26 October 2016, have been announced.
93 art, archeology, furniture and jewellery galleries will be gathered, among them Galerie Meyer - Oceanic & Eskimo Art, Galerie Jacques Germain and Galerie Didier Claes.
The selection committee was made up by four members of the TEFAF board of trustees as well as four US experts representing different fields of art. The committee’s recommendations were then validated and approved by the board of directors of TEFAF New York.
The fair’s scenography is in the hands of the Tom Postma Design firm. The Rijksmuseum in Amsterdam will be presenting a special exhibition at the event, and profits from the opening evening will go to the Society of Memorial Sloan Kettering Cancer Centre.
Paris, 27 September 2016
A Bakongo nail fetish, a Jivaro shrunken head, or a sculpture from Papua New Guinea… From “museum-quality” pieces to charming finds, Artkhade looks back to a crazy week: the Parcours des Mondes.
The tribal-arts market is fascinating. Less dangerous than operating a uranium mine in Gabon, more restful than Tintin’s adventures in Congo, it has experienced an unprecedented boom in the last fifteen years or so. The quest for “magic” objects from Africa, Oceania or the Americas draws dealers and collectors to Paris every year at the quirky Parcours des Mondes * in the Saint-Germain-des-Prés district. This eminently tribal rendezvous, a deliciously ritualistic ceremony, brings together the cream in international dealing every September. To give a literary comparison, one might say that the magic of the Parcours des Mondes is a bit like the shock inflicted by L’Afrique fantôme… it is just as enchanting as Michel Leiris’ book. The type of week that might set you into a trance until Christmas.
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