As previewed earlier, April proved a defining moment for the Paris art market. The city hosted its most consequential auctions since the twin disruptions of the Trump presidency and the onset of Brexit. Despite the complexities of France’s regulatory landscape, both Sotheby’s and Christie’s presented standout sales that drew notable international attention — a reassuring signal of Paris’s enduring stature as a global art capital.
On 10th April Sotheby’s offered a considered selection of modern and contemporary works, with several achieving results that comfortably surpassed expectations. Lucio Fontana’s Concetto spaziale, Attese, distinguished by its iconic slashed canvas, realised €450,000 — well above its €400,000 high estimate. Fontana continues to resonate with collectors keen to buy an easily recognisable and thought-provoking artist. Andy Warhol’s Flowers drew lively bidding, ultimately selling for €320,000 (est. €200,000–€300,000). The work’s come-get-me estimate and enduring pop signature reinforce Warhol’s consistent market appeal. René Magritte’s enigmatic Le Séducteur achieved €1,050,000 (est. €800,000–€1,200,000). The painting was typical of the artist and so very à la mode to contemporary collectors looking for big names and figurative styles. Paul Cézanne’s La Partie de campagne realised €1,300,000. Though narrowly beneath its €1,500,000 high estimate, might well have been the comparative bargain of the sales week. Finally, Henri Matisse’s Nu sur la chaise longue was another strong performer, achieving €2,500,000.
The evening before, on 9th April, Christie’s started an ambitious sale week centred on several single owner collections. A number of works achieved record-breaking results, underscoring both curatorial strength and market appetite. Henri de Toulouse-Lautrec’s Jane Avril au Divan Japonais led the sale, achieving €5.3 million and setting a new national auction record for the artist. This quintessential poster, a landmark of Belle Époque visual culture, exemplifies Lautrec’s deft synthesis of art and life in fin-de-siècle Paris. Sophie Taeuber-Arp’s wooden relief drew considerable attention, achieving €3 million and establishing a new world record for the artist. Her abstraction, rooted in Dada, geometry, and a fierce originality, is gaining long-overdue institutional and market recognition. Finally, Pierre-Auguste Renoir’s Nu sur un fauteuilsold for an impressive €1.6 million, more than tripling its pre-sale estimate which shows that there is still a strong market for an artist that was considered well and truly over-the-hill just a few years ago.
Both houses underscored their capability in bringing exceptional works to market, while affirming Paris as a sophisticated and increasingly international hub for the market. It may not have the entrepreneurial nous and ‘get-things-done’ attitude of a London or a New York but Paris still has a major role to play. The results speak not only to the enduring relevance of the big names, but also to the discernment of a global collecting base that continues to respond to quality, rarity, and resonance. Should you wish to discuss any of the above, or explore related opportunities in the market, I would be delighted to assist (and here’s to the forthcoming NYC sales too!).