the man his art On the experts Fakes & Forgeries On the market
from Born to Venice Drawings Past experts Myth and reality on his fakes The market
Arrival to Paris Sculpture Catalogues done in the past Famous forgers trust in the market?
Becoming an artist Painting Actual /Living experts known and undoubted fakes Auctions & Modigliani
on the path All the attributed works Catalogues of actual experts how to detect a fake Galleries & Museums
The artist Exhibitions during his lifetime How should an expertise must be done what to do with forgeries and forgers Famous collectors fromt the past to actual times
The myth Exhibitions until today News on the experts Art Historians, a trustable source? News on the market
Selected bibliography on him News on his art References  and Bibliography on the experts references on fakes & forgeries references & links on the market

AUCTION HOUSES:

Auction houses are the perpetrators and those responsible for what's good and what's bad in the commercial situation of the work by Modigliani.

The two majors, Christie's and Sotheby's, say even in public they do not trust present experts (see Liz Taylor affaire here) and they only bring to the floor the works listed by Ceroni.

They face the fact that Ceroni's catalogue is full of gaps and in some cases strong mistakes but for them it is reliable and trustable, until a better one comes...

Until then, it remains as the only valid source, the other experts are just "people passing by"...

Everyone outside the art world (even the common buyers) think that they are the main source for getting knowledge, expertise or discovering lost works.

The truth is that their work is to sell not to certify or expertise, (that is only for the press release...).

To do expertise or discoveries, they work with experts (not their employees) that change from time to time and they do not feel or are responsible for the given opinion by those experts (in any legal or moral terms).

As in the rest of the page I'm talking about paintings.  Drawings are almost impossible in auction terms, drawings is where the new experts earn "prestige", so I will not even mention them.



I will explain it with my experience:

Four years ago I had a meeting with a Bigfish from Sotheby's and the conversation went like this:

BIGFISH: Ok, this Modigliani seems to be perfect but I would not even dare to touch it.
ME: Why not?
BIGFISH: Because it is not listed in Ceroni.
(with an affected British accent)
ME: But Ceroni is dead.....what should I do then, contact a medium?
(with my anglo-texan spanglish accent)
BIGFISH: (A concealed chuckle) Take it to Restellini and if he accepts it, we will see...
ME: (exasperated tone masked) So if Restellini says it will be in his catalogue you will be able to auction it?
BIGFISH: (exasperated tone unmasked) No no no, first we have to wait a little while to see how the market accepts it.
ME: A little while?
BIGFISH: (Clear tired tone) Four or five years to see if the opinion is positioned as valid after the publishing of the catalogue.

A similar conversation in other terms (much more aggressive and less polite) with Christie's so then I quit with them.

 

...................................................................................................................................................................................................................


Here is a brief description of Sotheby's & Christie's biggest features (all listed in Ceroni), some works not in Ceroni, and a conclusion in numbers and data to explain the game...

After an analysis the result is:

1.- Fewer works at auction = 370% increase in prices.
2.- Fewer works bought-in (unsold) than with any other major artist = less risk for the auction house.
3.- 370% increase in prices = 400% benefit in 5 to 9 years term.

Fewer works, more profits...

...................................................................................................................................................................................................................


1.- WORKS INCLUDED IN CERONI:

SOTHEBY'S
Nu assis sur un divan
(La Belle Romaine)
New York, November 2010
Ceroni Nº 192
Price:
68,962,500 USD
SOTHEBY'S
Jeanne Hébuterne
New York, Nov. 2010
Ceroni Nº 174
Price:
19,122,500 USD
SOTHEBY'S
Jeanne Hébuterne au collier
New York, May 2010
Ceroni Nº 173
Price:
13,802,500 USD
SOTHEBY'S
Jeunne Femme
(Totote de la Gaite)
London, June 2007
Ceroni Nº 210
Price:
6,479,184 USD
SOTHEBY'S
Garçon à la Veste Bleu
London, June 2004
Ceroni Nº 259
Price:
9,593,674 USD
 

 

SOTHEBY'S
Giovanotto dai capelli rossi
New York, November 2002
Ceroni Nº 301
Price:
8,479,500 USD
NY, 1984 Price: 1,900,000 USD

442 % BENEFIT
SOTHEBY'S
Fillette assise en robe
New York, November 2000
Ceroni Nº 240
Price:
14,200,000 USD
CHRISTIE'S
Oscar Miestchaninoff
New York, November 2007
Ceroni Nº 153
Price:
30,841,000 USD
NY, 1995 Price: 9,352,500 USD

+ 300 % BENEFIT
CHRISTIE'S
Jeune fille assise en chemise
New York, November 2007
Ceroni Nº 264
Price:
16,841,000 USD
NY, 1998 Price: 4,842,500 USD

+400 % BENEFIT
CHRISTIE'S
Jeune fille au béret
London, February, 2007
Ceroni Nº 244
Price:
11,899,348 USD
CHRISTIE'S
Homme au chapeau
London, February, 2007
Ceroni Nº 88
Price:
7,726,340 USD
CHRISTIE'S
Vénus (Nu debout, nu médicis)
New York, November, 2006
Ceroni Nº 189
Price:
15,920,000 USD
CHRISTIE'S
Homme assis sur fond orange
London, June, 2006
Ceroni nº 273
Price:
6,723,264 USD
CHRISTIE'S
Le buste rouge (Cariatide)
London, June, 2006
Ceroni nº 38
Price:
6,413,640 USD
CHRISTIE'S
La servante au tablier raye
New York, November, 1998
Ceroni nº 123
Price:
3,082,500 USD
CHRISTIE'S
Fillette assise
New York, November, 2000
Ceroni nº 225
Price:
5,286,000 USD
CHRISTIE'S
Beatrice Hastings devant une porte
New York, November, 2002
Ceroni Nº 81
Price:
4,189,500 USD
CHRISTIE'S
Nu couché
New York, November, 2003
Ceroni Nº 184
Price:
26,887,500 USD
CHRISTIE'S
Les deux filles
London, February, 2009
Ceroni Nº 242
Price:
9,400,566 USD
CHRISTIE'S
Donna con collana rossa
New York, May 2005
Ceroni Nº 237
Price:
4,608,000 USD
THE TOP:
+ 500% BENEFIT

IN JUST 7 YEARS>>>>
CHRISTIE'S
Moïse Kisling seduto
New York, November 2005
Ceroni Nº 107
Price:
5,616,000 USD
CHRISTIE'S
Le fils du concierge
New York, May, 1999
Ceroni Nº 239

Price:
5,502,500 USD
SOTHEBY'S
Le fils du concierge
New York, November, 2006
Ceroni Nº 239

Price:
31,096,000 USD

...................................................................................................................................................................................................................


2.- WORKS NOT INCLUDED IN CERONI

MILLON & ASSOCIES
Le couple
Paris,June,2010
By Marc Restellini
By Christian parisot
By J. Lanthemann
Estimate: $538,850

Bought In / UNSOLD
BONHAMS
Woman portrait
London, June, 2011
By Marc Restellini
By J. Lanthemann
Price:
2,593,003 USD
BONHAMS
Christina
London, June, 2004
By Marc Restellini
By Christian parisot
Price:
2,213,122 USD
BONHAMS
Young woman with black hair
London, February,2012
By Marc Restellini
Est.: $ 1,100,000 - 1,600,000
Price:
1,112,749 USD
Do you think they can be more trusted than Ceroni?

Just take a look at this:

- The eye of Restellini = has lost 50% value from the price reached in 2004 - 2011 to that achieved in 2012.
- Parisot's eye is not even valued without Restellini attached.

...................................................................................................................................................................................................................
More in a near future...