The 28th edition of the Biennale des Antiquaires, the premier showcase of art and antiques featuring treasures from the world’s greatest dealers since the 1950’s. The Biennale des Antiquaires 2016 took place at the Grand Palais in Paris from September 10 – 18. Closely intertwined with that of the 19 th and 20th-century universal exhibitions, the Biennale des Antiquaires is a Parisian feast of antiques, fine art, jewelery and other miscellaneous objects of desire.
For art lovers from across the world, the Biennale des Antiquaires has been a must-attend event for more than half a century and quintessentially representative of the French “art de vivre”. Exhibitors the best of their private collections in rows of stands, each crafted to project a cocktail of prestige, exceptional taste and a discreet blanket of opulence.
The Biennale des Antiquaires aims to identify and activate artistic practices that challenge the established values of art. It bring together more than a hundred of notable participants, galleries and leading art, design and antique dealers, and high-end establishments (jewellers and watchmakers). For over 60 years, Biennale des Antiquaires has been a landmark international event. La Biennale presents museum-quality works covering 6,000 years of history from all continents and all disciplines.
Global competition has brought some big changes to the latest edition of the venerable art fair La Biennale Paris. The selection of exhibitors has been made this year, for the first time, by the Biennial Committee, an international committee of fifteen members, including members of the board of the SNA (National Syndicate of Antiquities), curators, art historians and collectors. The final list comprises 125 exhibitors from 14 countries including 41 returning international galleries, the integration of the “Paris Tableau salon” bringing back Old Masters paintings, and four haute jewellers.
The Biennale des Antiquaires closely intertwined with that of the 19 th and 20th-century universal exhibitions. This fair see the creation of a new service for visitors, with independent experts on-hand for amateurs, collectors and exhibitors, ready to assist them where necessary when buying pieces during the fair. The general layout of The Paris Biennial is optimized to enhance visitor comfort and the discovery of exhibitors and their works. There was a more eegant staging and a revamped layout, and this new design put all participants on an equal footing, thanks to a well-thought-out layout that allow for an enjoyable visit and make the works on display easier to view.
Set designer Nathalie Crinière was tapped to create the scenography for the fair, which guide people through the galleries while also giving exhibitors a beautiful backdrop for their booths. At the center she has fashioned a wonderful space for socializing in which six large mirrors are tilted upward to reflect the glass-covered canopy of the Grand Palais. The size of the aisles throughout the three main alleys has been balanced to ensure that the visitor enjoys the same comfort in each and that every exhibitor can present objects or works in the very best conditions. The whole of this ephemeral museum that is The Paris Biennial is concentrated under the Nave of the Grand Palais.
Biennale des Antiquaires is one of the most prestigious fairs in the world, ranking alongside other major international art events. Each edition attracts the main players in the art market, dealers, and prominent collectors, who gather together at this unmissable event. It is a very high-end fair and a unique opportunity to discover some rare items carefully selected by the various exhibitors. The participants and the cultural institutions help further the international reach.
By its nature, by its mode of operation, by its organic nature and by the nature of the practices it proposes to highlight, the Paris Biennale has an identity that very clearly distinguishes it from other biennials in the world. Paris Biennale don’t have its own collection, the practices associated with the Paris Biennale, not manifesting themselves in the form of a work of art, induce their own modes of being.
The “Biennale de Paris” was launched by Raymond Cogniat in 1959 and set up by André Malraux as he was Minister of Culture to present an overview of young creativity worldwide and to create a place of experiences and meetings. The event took place every two years from 1959 to 1985, but gradually lost its attractiveness for the media, in particular due to the lack of renewal and competition from other contemporary art events in Paris.
Since its shutdown, several projects have been developed and several teams have followed one another to bring it back to life. In 2000, the Biennale resumed and, after four years of organization, in 2004, the fourteenth edition was set up. From 2006, she moved towards a different form, delocalized and extended in time, and which were more market-oriented. The long-running Paris Biennale used to have overly advanced concepts, such as no collection, The situation change and replaced by a new art, antiques and luxury crafts fair at the new editions.
Biennale des Antiquaires constituting a national heritage, being a historical exhibition, prestigious from the exceptionality of its displays and the attention offered to artworks. Henceforward, this legacy must meet the expectations of the new generations of collectors with a passion for contemporary art, decorative arts, design and the tribal arts.
Cross-collecting interests are a notable trend of the 21st century, the Biennale des Antiquaires once the traditional home of French decorative arts and antiques, the fair now boasts nearly 5,000 works, which spanning millennia and media, and increasingly welcomes contemporary art.
The divide, once very marked between buyers of ancient arts and those whose interest was exclusively focused on contemporary art, have withered away over time. Different periods and styles now coexist harmoniously in the exhibitions of collectors and art lovers. Biennale des Antiquaires seeks to reflect this evolution and offers a broader view of the heritage to visitors and collectors
La Biennale Paris aspires to stand at the intersection of artistic eras by exposing art from the antiquity to the 21st century with the aim of uniting all art connoisseurs across the spectrum, while according a special focus on the preservation of harmony and balance in the exhibition.
Highlights of Biennale des Antiquaires 2016
Masterpieces and ancient statues all under one roof of Biennale des Antiquaires 2016, Henry Moore’s abstract reclining bronze figures just a few doors down from a rarely exhibited masterpiece by surrealist René Magritte, itself a moment’s stroll from a serene 17th century carved Buddha head or Louis XVI clock in white marble and gold enamel.
The Biennale continues to bring in glamour and world-class art from galleries around the world. For example, Islamic art is featured by Alexis Renard, and Carolle Thibaut-Pomerantz again displays her fantastic antique wallpapers.
Several galleries showcase twentieth-century wares, such as Galerie Downtown – Franҫois Laffanour, which feature a sideboard by Jean Prouvé and Charlotte Perriand, and Galerie Chastel Marechal, with one of Alberto Giacometti’s Figure floor lamps.
Another highlight for modern collectors was exhibitor booths that were specially designed by contemporary designers: Cindy Chao’s Haute Joaillerie stand was illuminated by light sculpture artist Grimanesa Amorós, and French designer Mathieu Lahanneur was bringing together the modern and antique worlds for Galerie Chenel’s booth.
Jacque de la Beraudiere’s stand showed a stunning Masson from 1939 at 3.5m USD as well as a 1929/30 Max Ernst collage/mixed media masterpiece. Jordi Mayoral and family had a well curated booth showing Miro, Picasso and Calder to reflect upon the 1937 Spanish Pavilion.
Robert Stoppenbach was offering the most stunning 1905 Derain. An absolute jewel depicting the bay of Collioure. Daniel Templon showcase the best works available by the second tier of post-war contemporary artists such as Adami, Hantai and Riopelle.
Robert Landau’s stand exhibited the usual high end superstars: a Modigliani oil, a vast Marble reclining figure from 1977 by Henry Moore, a stunning pastel of a Scottish girl by Louis Anquetin (that we sold at Sotheby’s a few years ago) and Joan Miros.
Maison Gerard exhibit at the Biennale des Antiquaires for the first time in September 2016, and share a space with French antique wallpaper specialist, Carolle Thibaut-Pomerantz. Maison Gerard’s booth at the Biennale des Antiquaires reflect a carefully curated mix of superb pieces from different periods and countries — featuring Line Vautrin mirrors, an pair of rare and important cabinets by Maison Leleu, and a prized Robsjohn-Gibbings coffee table.
For the first time, the Biennale has invited three major institutions for special exhibitions. Visitors also be treated to three special non-selling exhibitions: “A Century of French Elegance”, “Tradition and Daring!” and “The Mastery of Time.”
“A Century of French Elegance: Masterpieces of the Eighteenth Century,” include thirty-five works from the State Hermitage Museum’s renowned collection of French decorative arts. “Tradition and Daring!” trace the radical changes in the forms and functions of furniture during the twentieth century from the Mobilier National,
“The Mastery of Time” was a thematic exhibition illustrating the history of watchmaking. This special focus on timepieces include a thematic exhibition illustrating the history of watchmaking and time measurement from its origins to the present day, with some one hundred clocks and watches on loan from the Foundation’s 26 partner brands to illustrate the milestones in timekeeping. Inspired by historian Dominique Flechon’s book “The Mastery of Time” (published by Flammarion), the exhibition take visitors on a journey through the history of time measurement, from early sundials to modern mechanisms.
Visitors also be able to interact with master craftsmen demonstrating their métiers d’art, and enjoy a virtual reality experience to try out exceptional timepieces in their historical context, such as using a marine chronometer on the China Sea aboard the Cutty Sark, and discovering the importance of universal time on the Flying Scotsman steam locomotive.
Also for the first time, on the traditional special guests and press day, 500 invitations are available for the public on the on-line shop, for private viewing on September 9.
Since 2010, Biennale des Antiquaires has offered its privileged guests an exceptional program of private tours focused on the rare and the excellence. This event represents an opportunity to look towards the future with optimism and not to relish in the past. The 28th edition Biennale des Antiquaires with pride regarding its past accomplishments and confidence in its ability to renew itself and preserve the trust of exhibitors as well as visitors.
Biennale des Antiquaires embody a novel ambitions and herald a new era of international recognition for France from the Grand Palais venue in Paris. The event uphold its distinctive features: a limited number of galleries on display so as to widen the exhibition space thereby welcoming more furniture, paintings and exceptional objects, promote a beautiful scenery and host a unique dinner with nearly 800 guests amid exceptionalartworks.
Hosted by the exhibitors and the SNA, the 2016 Gala Dinner was hosted by six national and international ambassadors: influential women, representatives of luxury, life skills, and art lovers. Nearly 800 participants attend this memorable dinner, among which stand personalities from the world of art and culture, media, corporate bosses, politicians or collectors.
Organised by the SNA, this exhibition is one of the most prestigious art gatherings in the world. A fair that brings together some of the leading art, design and antiques dealers, along with master jewellers and watchmakers. Founded in 1901, the SNA (short for French: National Union of Antique Dealers) is one of the oldest associations of art dealers in France. Its role is to defend the profession of antique dealer before the public authorities and to promote the profession in France and abroad. It has almost 300 members who share the principles of Authenticity – Quality – Honourability. The SNA stands by its professional members and remains determined to defend the French and International art market.
The ‘Biennale de Paris’ was launched by Raymond Cogniat in 1959 and set up by André Malraux as he was Minister of Culture to present an overview of young creativity worldwide and to create a place of experiences and meetings. The event took place every two years from 1959 to 1985, but gradually lost its attractiveness for the media, in particular due to the lack of renewal and competition from other contemporary art events in Paris.
Several projects have been developed and several teams have followed one another to bring it back to life. In 2000, the Biennale resumed and, after four years of organization, in 2004, the fourteenth edition was set up. From 2006, she moved towards a different form, delocalized and extended in time, and which were more market-oriented. The long-running Paris Biennale used to have overly advanced concepts, such as no collection, The situation change and replaced by a new art, antiques and luxury crafts fair at the new editions.
For a long time, La Biennale Paris hosted historic galleries. To this day, among the most prestigious galleries are still ran during this event. International ones are less present in general. New ones have been created over the past ten years to revitalize artists from the beginning of the 20th century. The SNA sought to welcome these newcomers as they constitute an important component of the future French art market.
As a non-traditional event, La Biennale Paris is not solely subjected to the rules of a trade fair, thereby allowing it to provide firmer requirements on the origin of its proposed pieces, ultimately to the benefit of all visitors. One of La Biennale Paris’ prerogatives is to build ties with several Parisian events focused on showcasing the French refinement and whose attention is focused on defending and valuing our sacrosanct crafts and traditions. These events are intended to form complementary partnerships in the coming years.