It is a critical moment for the Biennale des Antiquaires in Paris — and for the French art trade.
It is a critical moment for the Biennale des Antiquaires in Paris — and for the French art trade. For this year’s edition of this most august art and antiques fair (which ended last week) — ostensibly celebrating its 25th anniversary — came as a real shock. It was not that the fair was poor; it was simply underwhelming. How can it be that this once peerless event is no longer distinguishable from any other good international fine art and antiques fair?
First, there was only a handful of outstanding stands — Phoenix Ancient Art, Vallois, Gisele Croes, Kraemer, Bernard Dulon and Christian Deydier among them — and a great deal of exhibited material was already familiar. Where once distinguished works of art were unveiled with flair and theatricality, the lion’s share of the exhibits was presented rather apologetically along aisles resembling nothing so much as a shopping mall. Why fight against a building as spectacular as the Grand Palais? Why offer a pale imitation of Maastricht?
Instead of the traditional proud celebration of the illustrious cultural heritage of France in particular, and the decorative arts in general, there seemed precious little in the way of French furniture and applied arts, and the conspicuous sprinkling of contemporary art at every turn just seemed to scream defeat, an apparent admission that the antiques dealers of France no longer believe in their heritage or their stock. For bravura style, confidence and attention to detail — I can hardly believe I am writing this — the new Masterpiece fair staged in London in June knocked it into the proverbial cocked hat.
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