Auctions | How to trace the works?

Until next Wednesday, Maison Heffel is exhibiting more than 80 works which will be auctioned on November 23. Major pieces by Jean Paul Riopelle, Marcelle Ferron, Paul-Émile Borduas, Emily Carr and Andy Warhol, in particular. So many works which will subsequently be dispersed, through private purchases, to the four corners of the world. Seven questions – and above all seven answers – to clarify the auction process.

Who are those who acquire works?

The majority of lots up for auction range from $50,000 to $150,000. Afterwards, it can go up very quickly. The mosaic of Jean Paul Riopelle (Composition^o 2, 1951), which he painted at the age of 28, is estimated at a sum of 3 to 5 million. So not everyone can afford this little fantasy. “The majority of buyers are private collectors,” says Tania Poggione, director of the Heffel Gallery in Montreal and a specialist in Canadian art. But we also find companies. They are often represented by intermediaries, who intervene in person or online. Museums occasionally acquire works when a work is missing from their collection, but the majority prioritize acquisitions through donations. »

Are buyers obliged to lend their works, and if they agree to do so, are they remunerated?

“No,” replies Tania Poggione. They are free to lend it or not. There are some who put it in a vault, others who show it to a restricted circle, in their living room, it depends. If they agree to lend their work, they will not be paid, but if they are contacted by a museum, for example, the costs linked to the loan are often covered by the institution, namely packaging costs , transport, insurance, etc., because when you go ahead with a loan, you can be deprived of your work for a year, two years… If it is an important exhibition, the work will be part of an exhibition catalog, which contributes to its traceability. In the case of Riopelle, the work is well indexed, in particular thanks to the catalogs raisonnés published by his daughter Yseult. »

In the case of buyers who decide not to lend their works and who choose anonymity, the trace of the works is lost, right?

“If the buyer is anonymous, their trace is temporarily lost, say, until they sell their work or donate it to a museum,” explains Tania Poggione. It is true that there are many private collectors who prefer to remain anonymous even if they lend their works, but there are many who do not hide their identity. Collectors are aware of the importance of the work they own and when there is a loan opportunity, they are proud to be able to ensure that people can enjoy it during an exhibition. »

Let’s take the example of a museum that wants to hold an exhibition exclusively on type mosaics. all-over by Riopelle. How can I find works that have been sold at auction to private collectors?

“There are different ways,” says Tania Poggione. In fact, our tools contribute to traceability. As our sales catalogs are public, and we do all the research on the provenance of the works and their different owners, it happens that museum curators tell us: “We need this work for an exhibition.” They will contact us, and as we are an intermediary between buyers and sellers, we can contact the owner of the work and make a loan request while respecting their anonymity. And often, collectors are flattered, because when it’s an important or large-scale exhibition, it adds to the pedigree of their work. It adds a little to the prestige of the history of the work, to its value. »

How do the foundations position themselves in all this? Do they look favorably on the dispersal of the works of Jean Paul Riopelle, for example?

We asked the question to Manon Gauthier, general director of the Riopelle Foundation. Of course, in this case, Riopelle was so prolific – he must have produced more than 7,000 works – that the dispersion of a few works elsewhere in Canada, Europe or Asia is not catastrophic. “Jean Paul Riopelle’s works are present in 18 countries, in around sixty public institutions,” Manon Gauthier tells us, “and I’m not talking about private collectors, but we still have an interest in his works remaining or coming back.” here. » Manon Gauthier, who observes the auctions with great interest, also believes that the dissemination and circulation of works on the art market is a good thing. “But when the time comes to organize an exhibition,” she explains, “you have to be able to bring together the networks of museums and private collectors to bring together all the works. »

To resell their works, do collectors still favor auctions?

“Over the counter, you can get a good offer, but with an auction that is also accessible online, competition pushes prices up, especially for works by recognized artists,” believes Tania Poggione. Participants who come from abroad hover around 20 to 30%, she adds. The Asian market is increasingly important in the art market. In addition to the seven pieces by Riopelle, which are part of the celebrations of its centenary and which come from two private collectors [un Montréalais et un Européen], you have to watch the works of Marcelle Ferron, Rita Letendre and their mentor all, Paul-Émile Borduas, but also the portraits of Queen Elizabeth II and Mick Jagger by Andy Warhol. »

You also specialize in evaluating the history of a work. This too is part of traceability. How do you proceed?

“In our research work on traceability, we find many clues on the back of a work,” replies M.^me Poggione. Particularly with gallery labels, like those of Pierre Matisse’s gallery in New York, often accompanied by an inventory number, or of Dominion, which was one of the most important Montreal galleries. Foundations are also important players. For example, we worked with the Henry Moore Foundation, for the small bronze [dont la valeur est estimée entre 500 000 $ et 700 000 $], it’s part of a Montreal collection. »

From November 2 to 8 at Maison Heffel