At the press conference on October 18th, the day before the opening of Paris+, Art Basel’s newest venture, Maximilíano Durón of ARTnews asked if journalists should be “forgiving” towards the fair as there had only been nine months of planning. Art Basel global director Marc Spiegler said to “feel free to.”
This interaction was indicative of the general feeling among the fair’s participants: Everyone was quietly hoping it would be a massive success, but didn’t want to comment on it just yet. One gallerist said it felt like some peers “phoned it in” for Frieze London, which was held the week before, and kept their best pieces for Paris+—which, considering the high concentration of blue-chip artists across the fair, was not wrong.
The Grand Palais Éphémère was certainly an illustrious location for the fair, positioned on the other end of the Champ de Mars to the Eiffel Tower. Yet the constant foot traffic—the fair welcomed 40,000 visitors—took its toll on the site, and it showed. Floorboards that started creaking on the first day had fully deformed by the last, and carpets had worn thin in the booths that had them. However, galleries were more than happy with how the fair went.
Hauser & Wirth president Marc Payot said, “It was clear on this first day of the fair that collectors and curators have gotten the assignment,” noting how many major works sold within hours of the doors’ opening. If anything, Paris+’s success has given the question of whether FIAC will return (seeing as Paris+ took both FIAC’s venue and traditional time slot this year) far more credence. “Everything is more,” said A Gentil Carioca director Gabriela Moraes. “More people from abroad, more sales, more art. [FIAC in 2019] was a very weak fair,” she said, in comparison.
Director of up-and-coming gallery Sans Titre, Marie Madec, echoed these comments, saying Paris+ “was the best fair we’ve ever done. As an emerging gallery, fairs are sometimes more of an image thing and, here, we actually feel like we’re getting the big world now that collectors are showing up from all over the world.” Both A Gentil Carioca and Sans Titre almost sold out their booths.
So many seven-figure sales were made that there is basically no space for anything less in the top sales roundup. Read on for the eye-watering numbers.
Many major artists saw sales across multiple booths, such as George Condo, whose painting Eyes Wide Open (2022) sold for $1.55 million on the first day by Sprüth Magers. And Alex Katz, whose retrospective at the Guggenheim opened last week, had works sold by Gladstone Gallery (Split 9, 2022, for $1.5 million) and Thaddaeus Ropac (Iris 5, 2019, and Yellow Buttercups 1, 2021, each for $700,000).
The sentiment that galleries had brought pieces they could flex with was evident with David Zwirner, which, in addition to the Mitchell painting, also sold Robert Ryman’s Untitled (1963) for $3 million; Luc Tuymans’s Bouhouche (2007) for $1.35 million; and Josef Albers’s Study to Homage to the Square: Aurora (1957) for $1 million.
Other major seven-figure sales include:
- Acquavella Galleries sold Sean Scully’s painting North Eagle (1983–84), made on two attached canvases, which had an asking price of $1.5 million.
- Applicat-Prazan sold Georges Matheiu’s Petite suite d’étranglements (1959–61), an oil painting, for €1 million–€1.6 million (about $980,000–$1.57 million) to a private collector.
- Hauser & Wirth also sold two other works in the seven figures: Ed Clark’s acrylic painting Paris Rose (1966) for $1 million–$1.5 million and Rashid Johnson’s oil painting Bruise Painting “Sanctuary” (2022) for $1 million.
- Luhring Augustine sold a Christopher Wool work, Untitled (1997), for $1.5 million.
Thumbnail image, right: Alex Katz, “Yellow Buttercups 1,” 2021. © Alex Katz. Photo by Chunho An. Courtesy of the artist and Thaddaeus Ropac.
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October 24, 2022 at 11:17PM
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What Sold at Paris+ par Art Basel 2022 - Artsy
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