Syracuse 1954 Nicolas de StaĂŤl Single-Object Catalogue & Proposal for Sale
Š Olivier Malingue
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Table of Contents Introduction Single-Object Catalogue Catalogue Entry Consignment Proposal Your Work Syracuse: Market Analysis and Valuation Syracuse: Sale Strategy Valuation for Syracuse Global Marketing Strategy Projected Legal Implications Endnotes Bibliography Annex
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© Christie’s
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Introduction Dear Collector, Christie’s Auction House would be honored to offer your exquisite artwork by Nicolas de Staël for sale at our Post War & Contemporary Evening Sale on Friday October 2, 2020 at Christie’s King Street in London. As the world’s leading Fine Art auctioneers, Christie’s expertise and dedication to supreme service guarantees a seamless process and advantageous results. Our Post War & Contemporary specialists are prepared to go above and beyond to ensure Syracuse sees its full potential. In-depth research and a strategic sales and marketing plan will be implemented to maximize the selling opportunities of your work during this peak in auction sales for Nicolas de Staël’s work. Christie’s takes pride in our past success in the sale of Nicolas de Staël’s market in our Post War & Contemporary Evening Sale. It is our hope that you will allow us the honor of selling such a magnificent work within your collection 5
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Single-Object Catalgoue
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Catalogue Entry
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Catalogue Entry NICOLAS DE STAËL (1914-1955)1 Syracuse Oil on canvas 50 x 73 cm (19 ¾ x 28 ¾ in) Painted in Ménerbes in 1953 – 1954 Entitled, signed and dated on the back of the painting, bottom right corner: Syracuse/Staël 1954, there is a circle on the left: O.2
Estimate: Suggested Auction Estimate: £3,200,000 £4,000,000 Suggested Reserve: £2,600,000 Provenance:
Exhibited:
Paul Rosenberg, New York Private Collection, Paris. Sold at the Maison Drouot in Paris, 28 March 1990, n 17. Private Collection, Unknown.
Athens/Rhodes, 1987. Geneva, 1992. Paris, 1992 (Malingue). Tokyo, Kamakura, Hiroshima, 1993. Martigny, 1995. Art Basel, 2017 (Galerie 1900-2000). London, 2019 (Malingue).
Literature: De Staël, A., De Staël, F., Viatte, G., Chastel, A. Nicolas de Staël: Catalogue Raisonné de L’Oeuvre peint. Switzerland: Ides et Calendes, 2000. p. 497.
Current Location: Olivier Malingue, London.3 10
Catalogue Entry
Š Olivier Malingue
Condition Assessment: The painting is in good condition. See Appendix 4 for a full assessment. NB: Originally, there was a signature in the bottom left corner but after a restoration made by Nicolas de StaĂŤl in 1955, it disappeared. 11
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Catalogue Entry Descriptive Analysis of Syracuse Syracuse is a rare and innovative work by Nicolas de Staël that brings together the forces of literal representation and allusive abstraction to the canvas. Painted by de Staël in 1953-54, the painting is a prime example of an artist coming into his own technique after years of experimentation.4 Nicolas de Staël’s unique ability to combine color and abstract form is unlike any other artist before him and is excellently illustrated in Syracuse. A series of geometric shapes cast upon a lavender horizon perpetuates the extraordinary marriage between abstraction and form. The painting combines a varied color palette of saturated reds and blues, off-set by hushed, warmer tones of yellow and purple. The blocks of red and yellow are suggestive of an unfinished quality, lacking finality, however, it is de Staël’s intent to operate in this liminal realm. Compositionally, de Staël’s tonal dialect emphasizes the structure of the landscape. De Staël uses blocks of white to balance the painting and provide an active use of negative space on the canvas. This dynamic use of space adds depth to the canvas and to the complementary nature of the Sicilian-inspired color palette. Additionally, the structure of the figurative elements of the painting draw the viewer out whilst requiring a step back to fully grasp the abstract quality of the series of shapes.
It is this push-pull dynamic that de Staël uses to achieve a landscape full of geometric shapes. However, the geometric blocks of color are not the heavily-impasto strokes common in de Staël’s later works. Rather de Staël refined his use of impasto on the canvas and created a smoother painting. In Syracuse, the paint is applied much more conservatively and is attuned to de Staël’s respect for structure, whilst lending itself to an element of abstraction. This change in style represents the artistic development that de Staël underwent towards the end of his life. 5 The composition of the painting adheres to the line between representation and abstraction, and is a prime example of de Staël’s ability to harmonize the two. Syracuse is a prime example of de Staël’s rare ability to successfully marry seemingly different elements onto one canvas: cool and warm tones, an impasto technique and smooth result, figurative and abstract.
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Figure1: Nicolas de StaĂŤl in his studio, Rue Gauguet, Paris, 1954.
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Syracuse, In Context Born in 1914, Nicolas de Staël spent the first years of his life in St. Petersburg, Russia during the First World War.6 Following the Bolshevik Revolution in 1917, the de Staël family fled to Poland where both of de Staël’s Mother and Father died shortly thereafter. Nicolas De Staël and his two sisters moved to Brussels where the artist would go on to study interior design and architecture. Early travels throughout France would introduce de Staël to the likes of Henrí Matisse and Georges Braque, the latter of whom would become a friend and neighbor in Paris.7 By 1936, de Staël was well on his way to becoming an artist. During the Second World War, de Staël emerged as an artist with a particular affinity for abstraction. It was during this time, in 1941, that de Staël would meet and be inspired by a group of Parisian Avant-Garde artists such as Robert Delaunay and Jean Arp.8 These artists showed de Staël a new form of abstraction that would challenge his earlier works and inspire experimentation in his future works.9 It isn’t until the post-war years that de Staël’s network of influences and experimentation would come together. De Staël’s works during this time would often be synonymous with works in movements such as Lyrical Abstraction, Art Informal and Tachisme.10 However, the early 1950s resulted in an artistic epiphany for de Staël and Syracuse is a fruit of this development. By the time Syracuse would be completed, de Staël had made a critical decision to move entirely from abstract works to a technique that encompassed both abstract and figurative compositions.11 This changing approach from heavily impasto brushstrokes to a softer use of the technique, exemplified the artist’s development and maturity in his later works. 12 Syracuse was inspired by de Staël’s visits to the Mediterranean towards the end of his life. It is during this time that de Staël was living in Antibes, France and suffering bouts of mental health illness.13 To cope with his mental health condition, the artist went on vacation with family and friends to the Italian island of Sicily.
It is here that de Staël was inspired by the landscape and environment in which he found himself and from this experience, began creating works of astounding knowledge of color and ‘structured’ abstraction.14 This stylistic development brought a new period for de Staël’s work, on a global scale. In America, the early 1950s paved way for the rise of Abstract Expressionism creating an environment that understood experimental artists.15 It is here that Nicolas de Staël began to see international recognition for his works. Institutions began acquiring de Staël’s works and holding solo exhibitions. De Staël’s works appeared in shows at the Sidney Janis Gallery and M. Knoedler & Co. in New York and the Phillips Gallery in Washington D.C.16 Sadly, this newfound fame ultimately became too much for de Staël. In a letter written to his step-son, Antoine Tupal, de Staël wrote, “I don’t know what I am going to do. Perhaps I have painted enough. I have achieved what I wanted. The children have what they need.”17 The apparent distress in this letter along with a bout of insomnia and depression (among other likely causes) led Nicolas de Staël to jump off his balcony in Antibes, France on 16 March 1955 at 41 years old.18 A tragic ending to the blossoming career of a masterful and brilliantly talented creative. Within Nicolas de Staël’s 15-year career, the painter would go on to create thousands of works and develop his own, unique style hovering between abstraction and figuration, but not owned by any single movement.19 However, at the young age of 41, Nicolas de Staël’s death would come at a time when his artistic vision had just begun to appear on the canvas. Completed in 1954 and at this crucial time in the artist’s repertoire, Syracuse perfectly exemplifies the investigative period in which de Staël had only just begun to master.
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Figure 2.
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Syracuse, In Context One of the more striking qualities of de Staël’s Syracuse is the tranquil and emotive color palette. The combination of cool tones combined with the warmer tones alludes to an abstract depiction of the Sicilian landscape. At a time when de Staël was nearing the end of his life and suffering from mental illness, his paintings would suggest otherwise. Colorful and engaging, his artwork is not so much anguished as it is content. The color palette and landscape suggest a man completely aware of his surroundings and immersed in the scene. Additionally, the way in which de Staël juxtaposes the geometric shapes of varying pigments gives way to an allusive quality among the landscape. Not unlike J.M.W. Turner’s ability to create an allusive scene structured by the use of color.20 In the unfinished watercolor by Turner, Norham Castle Sunrise (Figure 2), the artist begins to create depth and develop a sense of figuration within the pastoral scene, a similarity de Staël draws on within his own canvas in Syracuse. Both artists divide the canvas between warmer hues and cool hues to emphasize natural light. However, the artists differ in the articulation of color within the landscape. De Staël’s delivery coincides with his abstract and cubist influences in the form of geometric shapes, whilst Turner adheres to his own period of idyllic scenery and fluidity of style. Similarly, de Staël draws influence from the geometric landscapes mastered by Paul Klee. In Mountain Village (Autumnal) (Figure 3), Klee expresses the beauty of a fall landscape in a small
Mountain town through a series of geometric shapes. Characteristically, Klee’s canvas is much more abstract when directly compared to de Staël’s Syracuse, however, the two use the combination of form and color to create an immersive landscape. Klee’s canvas utilizes more shapes and an outlined form as a way of bringing the fall foliage to the forefront of the painting. De Staël uses a similar technique in theory, promoting the natural environment. However, de Staël utilizes elements of figuration and less volume of geometric shapes in order to create an expanded view, inherent of the Mediterranean landscape compared to the dense mountainous scape in Klee’s Mountain Village (Autumnal).
Figure 3 17
“ A painting should be both abstract and figurative: abstract to the extent that it is a flat surface, figurative to the extent that it is a representation of space.
” - Nicolas de Staël, quoted in Nicolas de Staël in America, exh. cat., Tate Gallery, London, 1981, p. 172
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Selected Bibliography Abstract or Not. Exhibition Guide. Olivier Malingue: London, 2019. Artfacts. Nicolas de Staël. www.artfacts.net Christie’s. Post War & Contemporary Evening Sale. Sales Catalogue.
Christie’s: London, March 2019.
Clar, A. Nicolas De Staël. Mitchell-Innes & Nash: London, May
2013. Video. Accessed https://www.youtube.com.
De Staël, A., De Staël, F., Viatte, G., Chastel, A. Nicolas de Staël:
Catalogue Raisonné de L’Oeuvre peint.
Switzerland: Ides et
Calendes, 2000. p. 497.
De Staël, N. Nicolas de Staël in America. Tate Gallery: London, 1981. Du Bouchet, M., & De Staël, G. Nicolas de Staël in Provence. Yale University Press: New York, May 2018. Mithcell Innes & Nash. Nicolas de Staël. Mitchell Innes & Nash: London, May 2013. Accessed https://www.youtube.com/watch?v=Q9jpl1_ekgI Tate, ‘Norham Castle, Sunrise’, Joseph Mallord William Turner, c. 1845. Tate. Accessed August 18, 2019. The Art Story Market Insight. Nicolas De Staël. Accessed 14 July 2019 www.theartstory.org/artist/de-stael-nicolas.
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Consignment Proposal
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Syracuse: Market Analysis and Valuation
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Market for Post-War & Contemporary Art The market for Post-War & Contemporary art continues to maintain its lead in art categories and has steadily increased since 2016.21 Although volatile, the Post War & Contemporary sector saw strong growth in 2018 of roughly £1 billion in sales from 2017 (Figure 4) on a global scale. In regard to the UK, London’s Post War & Contemporary art sector maintained its 19% market share by value and saw a 21% increase in sales in 2018.22
The Post War & Contemporary Art Sector, 2008-2018
Figure 4
Post War & Contemporary sales at Christie’s London continue to increase, as well. In 2016, a successful October Post-War and Contemporary evening auction realized a sale total of £32.2 million. 23 Moreover, in 2018, our October Post War & Contemporary evening auction realized £84.6 million in sales. Additionally, the UK maintains over 60% of the EU Art Market share, emphasizing London’s ability to support a large Post War & Contemporary sale. 24 At Christie’s, our Post War & Contemporary art category shows promise for our upcoming auctions in 2020.
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Christie’s & Nicolas de Staël Christie’s takes pride in our past success in selling highly sought after works by Nicolas de Staël. Since 2008, Christie’s holds three world auction records for works by de Staël at the time of sale.25 Our expertise and knowledge of the buyer base surrounding de Staël’s market sets our service apart from other auction houses. We utilize this knowledge and skill to ensure each de Staël painting sold at Christie’s is supported to its highest potential. In 2008, Christie’s sold Marseille Sous la Neige (1954) for £1.7 million (including buyer’s premium) setting the first world auction record for Nicolas de Staël since 1990. Christie’s set yet another world auction record for the artists again in 2012 after consigning Agrigente (1954), realizing £5.3 million. Currently, the world auction record for de Staël was achieved at a Christie’s New York sale in May 2018. The work, Nu Debout (1953), sold for £8,964,740, however, not likely to maintain the record title for much longer.26 In October 2019, Christie’s Paris hopes to achieve a new world auction record for Nicolas de Staël. An exquisite work by de Staël titled Parc des Princes (1952), is estimated at £16,340,000 - £22,690,000, and
The painting achieved 106% above the pre-sale high estimate.28 Most recently, in 2019, Christie’s offered three separate paintings by Nicolas de Staël in three separate sales across salerooms in London, New York and Paris. Bouteilles (1952), Ciel (1952), and Paysage de Vaucluse No. 3 (1953), achieved prices that were 81%, 167%, and 221% above their respective presale high estimates. Not only does Christie’s have the expertise and knowledge to successfully sell paintings by Nicolas de Staël but our continued success in this market sets us apart from our competitors. In 2018 alone, Christie’s owned 87% of the market share for paintings by Nicolas de Staël All other auction houses accounted for the remaining 13%, as shown in Figure 4.29 And with the upcoming sale in Paris, we believe our market share will only continue to grow at the end of 2019. Our proven track record within Nicolas de Staël’s market establishes Christie’s as the market leader for these works.
The market for Nicolas de Staël has seen record prices achieved and shows no signs of slowing down.
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Christie's Market Share for Nicolas de StaĂŤl Paintings in 2018
13.00%
87.00%
Figure 5
Post War and Contemporary Evening Sale at Christie’s King Street in London on 06 March 2019.
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Christie’s & Nicolas de Staël
Nicolas de Staël (1914-1955)
Figure 6
Nicolas de Staël (1914-1955)
Figure 7
Marseille Sous la Neige, 1954
Agrigente, 1954
59 x 81 cm
89.2 x 130 cm
Estimate on Request
Estimate on Request
Sold for £1,721,250 (w/BP)
Sold for £5,305,250 (w/BP)
Christie’s United Kingdom, June 2008
Christie’s United Kingdom, Feb. 2012
World record acution price for Nicolas de Staël at the time of sale.
World record auction price for Nicolas de Staël at the time of sale.
Figure 9
Figure 8 Nicolas de Staël (1914-1955)
Nicolas de Staël (1914-1955)
Marseille, 1954
Nu Debout, 1953
80.6 x 60 cm
146 x 89 cm
Estimate on Request
Estimate on Request
Sold for £3,085,875 (w/BP)
Sold for £8,964,740 (w/BP)
Christie’s United Kingdom, June 2013
Christie’s New York, May 2018
Realized 106% above the high estimate price.
World record auction price for Nicolas de Staël at the time of sale.
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Christie’s & Nicolas de Staël
Figure 10
Figure 11
Nicolas de Staël (1914-1955)
Nicolas de Staël (1914-1955)
Fleurs, 1952
Bouteilles (Bottles), 1952
147 x 98 cm
92 x 72.4 cm
Estimate on Request
Estimate on Request
Sold for £7,267,673 (w/BP)
Sold for £4,519,250 (w/BP)
Christie’s Paris, June 2018
Christie’s United Kingdom, March 2019
Realized 50% above the high estimate price.
Realized 81% above the high estimate price.
Figure 12 Nicolas de Staël (1914-1955)
Nicolas de Staël (1914-1955)Figure 13
Ciel, 1952
Paysage de Vaucluse No. 3, 1953
100 x 73 cm
54.2 x 73 cm
Estimate on Request
Estimate on Request
Sold for £1,030,079 (w/BP)
Sold for £2,562,016 (w/BP)
Christie’s New York, May 2019
Christie’s Paris, June 2019
Realized 167% above the high estimate price.
Realized 221% above the high estimate price.
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Market for De Staël & Syracuse
The market for paintings by Nicolas de Staël has seen significant breakthroughs at auction within the past eight years. In 2018 alone, turnover for paintings by de Staël reached roughly £19.9 million, with numerous paintings sold at Christie’s within or
above estimate.30 Thirty five years after de Staël’s tragic death, demand for his paintings echoes the popularity and interest he saw in the international art community in the last few years of his life. In 1990, Syracuse held the world auction record for paintings by Nicolas de Staël, exceeding a hammer price over £1 million pounds. Since 2000, prices for paintings by de Staël have continuously increased. As indicated by the graph below (Figure 14), his market has significantly increased within the past three years when compared to his peers. In order to take advantage of this peak in de Staël’s market, we advise selling the work at auction in 2020. 31
Price Indices for Nicolas de Staël and Peers Since 1999, Base 100 1200 1000
Price Index, Base 100
800 600
Nicolas De Stael Market Average
400 200 0
Figure 14
Year
Additionally, when analyzing comparative works by de Staël that have sold at auction, your version of de Staël’s Syracuse series emerges as a highly sought after work in the private sector. Selling at auction publicly reintroduces your work by de Staël to the public sector whilst taking advantage of a peak in the market. 29
Valuation for Syracuse importantly, the satisfaction of the
Suggested Auction Estimate: £3,200,000 - £4,000,000 Suggested Reserve: £2,600,000
painting
by
the
Additionally,
artist
because
himself. Christie’s
continues to own the market for later
Upon sale at Christie’s King Street on 02 October 2020, we propose a conservative and strategic estimate and reserve. Per your
landscape works by Nicolas de Staël, our expertise and network allow for a
approval, we suggest a reserve price of
more competitive price to be reached
£2,600,000 with an opening bid from the
with
auctioneer at £2,000,000. A conservative
second comparative of de Staël’s
reserve and starting point for the sale allows the psychological dynamics of the auction room to take course and eventually build its own
momentum.
Setting
the
reserve
at
your
particular
painting.
A
Syracuse series sold at Christie’s in June 2003 (Figure 16).33 The painting was
estimated
at
£200,000
-
£2,600,000 allows the painting to sell at a
£300,000 and realized a hammer
price that accounts for inflation from its
price within the projected range,
previous auction sale of £1.17 million in 1990. Our analysis of comparative works by de Staël
albeit
closer
to
the
high-end
confirms our suggested auction estimate.
estimate. This version of Syracuse, is
The first comparative of de Staël’s Syracuse
a
series sold at auction in 1997 and again in
previous. This work is of similar style,
2012 (Figure 15).32 In both sales, the work
closer
performed
within
the
estimate
range,
confirming demand for landscape works by de Staël in this style. This particular comparative
closer
comparative than
comparative,
the
and
a
than
the
previous closer
color
palette in terms of color contrast.
work contains similar subject matter, style,
Depsite the size differences, between
and dimensions as your work by de Staël.
Figure
However, your version of Syracuse demands
Syracuse, the 2003 lot provides a
an overall higher value due to its previous exhibition history, color palette, and perhaps
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relatable
and
your
market
version
of
comparison.
most importantly, the satisfaction of the
Unfortunately, this work was sold
painting by the artist himself. However, your
during a downturn in de Staël’s
version of
market, as well as a downturn in the
Syracuse
demands an overall
higher value due to its previous exhibition history, color palette, and perhaps most
overall art market for paintings.34 As 30 such, a sale during the current peak
Valuation for Syracuse Nicolas de Staël (1914-1955) Plage de Syracuse, 1954 55 x 73 cm Sotheby’s US, November 1997 Estimate: £106,272 = £129,888 Hammer Price: £118,080 Sotheby’s France, December 2012 Estimate: £487,140 - £649,520 Hammer Price: £552,092 Figure 15
Nicolas de Staël (19141955) Syracuse, 1954 81 x 65 cm Christie’s UK, June 2003 Estimate: £200,000 = £300,000 Hammer Price: £296,450
Figure 16
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Syracuse: Sale Strategy
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Syracuse: Sale Strategy Post War & Contemporary Evening Sale Christie’s King Street London 2 October 2020.
Selling your de Staël painting at our
The Post War and Contemporary sale at
proximity of the annual Frieze Art Fair
Christie’s London offers Syracuse the support
provides an energetic environment for
it needs to achieve a competitive price at
our October sale and increases the
October Post War & Contemporary evening sale will also benefit from the art events going on in London at the beginning of October. The arrival and
auction. As mentioned, the Post War and Contemporary
category
continues
to
see
overall market growth. Additionally, the sale provides
an
academic
and
contextual
framework which many potential buyers of
number of visitors coming into our King Street galleries. Additionally, the October sale is strategically placed just a few months after Art Basel and
your work will find interesting. In order to
Masterpiece London, providing buyers
capitalize on this unique quality in the context
with one of the first opportunities to
of the
Post War & Contemporary sale, our
buy post war and contemporary art in
specialists will place the work next to works by
the fall season. The Post War &
Gerhard Richter, Patrick Heron, and Peter
Contemporary sale at Christie’s King
Doig. In doing so, we seek to create an innovative
juxtaposition
between
art
movements, artists and styles – highlighting visual
differences
through
contextual
similarities. In order to capitalize on these
Street during this time in October is most beneficial because of London’s continued strength as an art market powerhouse. Our October Post War &
contextual influences, we advise a lot number
Contemporary sale continues to reach
of
staggering sale totals in recent years.
10-12.
Most
of
our
Post
War
&
Contemporary Evening auctions in London’s October sales contain an average of 50 lots. This
places
your
painting
towards
the
beginning of the sale, after the momentum has had time to manifest in the saleroom. This also provides Syracuse with the advantage of benefitting from the sale of major market leaders at auction like Doig and Richter.
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Syracuse: Sale Strategy A Post-Brexit Sale Another benefit of selling your de StaÍl painting in October 2020 is the cushion between Brexit and the October sale. We believe Christie’s will make great strides in 2020, despite the UK leaving the EU, and in fact, we believe the situation could result in a positive impact for our future sales. With the sale being in late 2020, this allows the UK government to address the immediate effects of the move towards an independent art market. Leaving the EU will allow the UK art market to prosper on its own without the EU restrictions in place by the E prices for exceptional works such as this one. 35 Suggested Secondary Option In the unlikely event a buyer is not found at the Post War & Contemporary evening auction in October or Brexit proves to have sustained negative effects on the UK art market, we would advise a 6-month term for private sale. Christie’s has an expansive network of clients prepared to pay competitive prices for exceptional works such as this one. A private sale provides intimacy during the negotiation process and allows the buyer and seller to come to a mutual agreement. In which case it would be our pleasure to serve as specialists and provide expertise regarding all aspects of the painting including authenticity, pricing, condition assessment, as well as any nuances that may arise during the private sale process.
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Global Marketing Strategy
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Global Marketing Strategy In order to maximize the full potential of Syracuse, we have created a strategic marketing plan to supplement the sale of your painting at auction. Our strategy utilizes several impactful platforms, reaching new and existing buyers on a national and international scale. This marketing plan will ensure your painting is adequately marketed to the most crucial audiences. 36
Catalogue Entry
E-Catalogue
In order to present your work by Nicolas de
In
Staël to the most capable buyers, we will
catalogue, we will also provide buyers with
include a detailed, eight-page catalogue
access to an online catalogue. The online
entry, as previewed earlier. This entry will
version will be a digital copy of the print
include all basic information of Syracuse,
version and contain the same information
as
associated
in a more accessible manner. The E-
literature, essays detailing the work in the
Catalogue provides buyers with a more
context of Nicolas de Staël’s oeuvre, as
convenient
well
catalogue
well
as
as
provenance,
academically
enticing
addition
to
way and
the
of
hard
copy
viewing
caters
to
our
of
the
the
younger
powerful
clients. High resolution images and a user-
similarities between your work and works
friendly interface will allow buyers and
by other major Post War & Contemporary
visitors
artists, such as Doig and Richter. The
catalogue at a time and place of their
comparatives,
indicating
the
catalogue will be distributed liberally to all
of
Christie’s.com
to
view
the
choosing.
Christie’s clients, globally. Our continued success with this particular method of advertising continues to provide buyers with the information and background they need.
However,
for
new
and
curious
buyers, the catalogue can also be bought on Christie’s.com. Art enthusiasts and firsttime buyers often seek out the catalogue for major sales, such as our London Post War
&
Contemporary
October
auction
because of its reputation throughout the art community.
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Global Marketing Strategy Christie’s Magazine
Press Release & Public Relations
Syracuse will also be featured in our top-
Our team of dedicated communications
notch, Christie’s Magazine. The magazine
specialists
work
is published six times a year and contains
impactful
press
specific information regarding auctions at Christie’s, as well as highlighting certain lots in the upcoming sales. In order to ensure Syracuse has maximum visibility to an important audience, the painting will be
featured
in
the
magazine.
The
diligently campaigns
to
create and
to
supplement our major sales. An official press release will be announced on Christie’s.com to promote the October Post
War
&
Contemporary
sale
in
London.
magazine is distributed to over 11,000 clients, collectors, and curators, globally, getting Syracuse in front of some of the biggest names in the art community.
Pre-Sale Exhibition and Events Christie’s will also include your work by Nicolas de Staël in our pre-sale exhibition one week before the sale. The pre-sale exhibition coincides with London Frieze Week, meaning more clients, collectors and visitors will enter the gallery. simultaneous increase
event
will
viewership
This
significantly
of
Syracuse.
Additionally, Christie’s will hold a pre-sale event,
centered
around
the
October
Evening Auction. The event, contains a carefully tailored guest list to ensure top clients and bidders have access to a private viewing. Christie’s will also host guided tours for businesses, creating more opportunities to reach new buyers.
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Projected Legal Implications
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Projected Legal Implications Import & Export Restrictions Because Syracuse resides in Geneva and will be sold at Christie’s London, it is important to disclose all import and export restrictions pertaining to the sale of your painting. Syracuse will undergo a pre-sale export from Geneva in order to sell the painting in London. Due to Geneva’s Freeport status, this procedure will be fairly standard. De Staël’s artwork does not fall under enhanced protection as listed in Article 3 of Switzerland’s Cultural Property Transfer Act (CPTA) 2005 because it is not of significant importance to the Swiss Confederation. 37 As such, there are not any extenuating circumstances prohibiting the exportation of Syracuse from Geneva to the UK. However, because Syracuse was recently on display at Olivier Malingue in London (and among other reasons), it is advisable to post-pone the sale of the artwork until the October 2020 Post War and Contemporary sale. This will allow the artwork to re-enter the United Kingdom under Temporary Admission for two additional years. Significant caution will be taken as not to trigger Anti-Avoidance legislation. 38 As mentioned above, Syracuse will be imported into the United Kingdom for sale in the October 2020 Post-War & Contemporary auction. The artwork will be imported to the United Kingdom under Christie’s Temporary Admission authorization in order to freeze the tax owed to the HMRC, which will then be owed by the buyer. If no buyer is found at auction, as mentioned, we suggest a 6-month private sale period, in which we will continue to use our expertise and network to find an adequate buyer for your painting. 39 *Assuming the owner would like to sell the painting at this time, regardless of means. Authenticity & International Legislation Because Syracuse is adequately accounted for in the official Nicolas de Staël Catalogue Raisonne, its authenticity and full provenance are accounted for since its creation. Additional research by our team of dedicated experts can confirm that your painting, titled Syracuse, is in fact a work by Nicolas de Staël. Switzerland’s CPTA also implements the legislation outlined in the 1970 UNESCO Convention. This prohibits the illegal import, export and transfer of ownership of cultural property. Syracuse is not considered cultural property, and therefore does not require adherence to the UNESCO Convention standards. Additionally, it is important to note any issues regarding the sale of your painting and any Convention on International Trade and in Endangered Species and Wild Fauna (CITES). Fortunately, Syracuse does not contain any material that would be regarded as an endangered species or wild fauna, as listed in the legislation.40
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Projected Legal Implications VAT Implications In the UK, the VAT liability will reside with the buyer. If the buyer decides to export the work within thirty days of their purchase, then a 0% tax rate will be applied. However, if the buyer is located within the UK, a 20% tax rate will be applied. The painting would qualify to be sold on under the Margin Scheme, if no VAT is claimed back by the buyer. Additionally, an export license will automatically be granted for the buyer because Syracuse has been legally imported into the UK within the last 50 years, assuming all Swiss documentation is provided. 41 Capital Gains Tax Presuming Syracuse sells at auction above the price at which you acquired it for, a 20% Capital Gains Tax will be owed to HMRC. Additionally, depending on the place of your own permanent residence, tax may also accrue in that country, depending on current legislation.42 Artist Resale Rights Artist Resale Rights allow artists of original works of art to receive a royalty each time a work is sold on the secondary art market. Although Nicolas de StaĂŤl lived and worked in France for a significant amount of his career, it is unlikely he was considered an EEA national because his birthplace was Russia. As such, artist resale rights will not be applied to the sale of Syracuse.43
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Bibliography De Staël, A., De Staël, F., Viatte, G., Chastel, A. Nicolas de Staël:
Catalogue Raisonné de L’Oeuvre peint.
Switzerland: Ides et Calendes, 2000. p. 497. €25m Nicolas de Staël’s Parc Des Princes Could Set New Auction Record | Auctions News | THE VALUE | Art News.” TheValue.com. Accessed August 22, 2019. https://en.thevalue.com/articles/nicolas-de-stael-parc-desprinces. Aaron Clar. NICOLAS DE STAËL, 2013. https://www.youtube.com/watch?v=Q9jpl1_ekgI. Abstract or Not | 26 April - 19 July 2019.” Olivier Malingue. Accessed August 28, 2019. https ://oliviermalingue.com/exhibitions/abstractornot/overview/. ArtFacts. “Nicolas de Staël | Artist.” ArtFacts. Accessed August 28, 2019. https://artfacts.net/artist/nicolas-de-stael/2227. Artforum.Com.” Accessed September 6, 2019. https://www.artforum.com/artguide/artfairs. Artist’s Resale Right.” GOV.UK. Accessed August 28, 2019. https://www.gov.uk/guidance/artists-resale-right. Auctions for Painting by Nicolas DE STAËL: Sold Lots by Nicolas DE STAËL - Artprice.Com.” Accessed August 20, 2019. https ://www.artprice.com/artist/27283/nicolas-stael-de/lots/pasts/1/painting?ipp=25&nbd=5&p=6&sort=datesale_desc . Christie’s Goes for the de Staël Record, Again.” Art Market Monitor, July 16, 2019. https://www.artmarketmonitor.com/2019/07/15/christies-goes-for-the-de-stael-record-again/. Christie’s to Offer $20-Million Nicolas de Stael—But in Paris Instead of Brexit-Plagued London.” Artsy, July 12, 2019. https://www.artsy.net/news/artsy-editorial-christies-will-offer-20-million-nicolas-de-stael-painting-paris. CITES.” Accessed September 1, 2019. https://www.cites.org/. Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property.” Accessed August 28, 2019. http://portal.unesco.org/en/ev.php-URL_ID=13039&URL_DO=DO_TOPIC&URL_SECTION=201.html. Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property.” Accessed September 5, 2019. http://portal.unesco.org/en/ev.php-URL_ID=13039&URL_DO=DO_TOPIC&URL_SECTION=201.html. Highlights from the 50th Edition of Art Basel.” Apollo Magazine, June 6, 2019. https://www.apollo-magazine.com/art-basel-2019-highlights/. Inflation Calculator | Bank of England.” Accessed September 6, 2019. https://www.bankofengland.co.uk/monetary-policy/inflation/inflation-calculator. Marseille Sous La Neige by Nicolas DeStaël.” Accessed August 29, 2019. http://www.artnet.com/artists/nicolas-de-staël/marseille-sous-la-neige-A0GBFulQyKf9YbF5ALOIBw2. Mountain Village (Autumnal), 1934 - Paul Klee - WikiArt.Org.” www.wikiart.org. Accessed August 29, 2019. https://www.wikiart.org/en/paul-klee/mountain-village-autumnal-1934. Neuhaus, Nina M. “Switzerland: Establishment of Federal Registry of Cultural Property | Institute of Art and Law.” Accessed August 27, 2019. https://ial.uk.com/switzerland-establishment-of-federal-registry-of-cultural-property/. “Switzerland: Establishment of Federal Registry of Cultural Property | Institute of Art and Law.” Accessed September 5, 2019. https://ial.uk.com/switzerland-establishment-of-federal-registry-of-cultural-property/. “Nicolas De Staël - Artmarketinsight - Artprice.Com.” Accessed August 26, 2019. https://www.artprice.com/artmarketinsight/nicolas-de-stael-2. “Nicolas de Staël Could Fetch €25 Million at Christie’s.” Art Critique (blog), July 31, 2019. https://www.art-critique.com/en/2019/07/christies-to-sell-painting-by-de-stael/. “Nicolas de Staël. Lumières Du Nord. Lumières Du Sud | MuMa Le Havre : Site Officiel Du Musée d’art Moderne André Malraux.” Accessed August 15, 2019. http://www.muma-lehavre.fr/en/exhibitions/nicolas-de-stael-lumieres-du-nord-lumieres-du-sud/biography. “Studio Sunday: Nicolas de Stael - Artist Run Website.” Accessed August 15, 2019. https://www.artistrunwebsite.com/blog/2927/Studio+Sunday%3A+Nicolas+de+Stael. “Switzerland Art Law – Getting The Deal Through – GTDT.” Getting The Deal Through. Accessed August 27, 2019. https://gettingthedealthrough.com/. Tate. “‘Norham Castle, Sunrise’, Joseph Mallord William Turner, c.1845.” Tate. Accessed August 28, 2019. https://www.tate.org.uk/art/artworks/turner-norham-castle-sunrise-n01981. “Why Brexit Is a Golden Opportunity for the U.K. Art Market - Artsy.” Accessed September 6, 2019. https://www.artsy.net/article/artsy-editorial-brexit-golden-opportunity-uk-art-market.
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Appendix 1 Abstract Total Word Count: The Single-Object Catalogue of this work includes a significant amount of research as it relates to Syracuse by Nicolas de Staël. It includes the catalogue entry as well as a detailed contextual element. The research process for this portion proved to be difficult and enlightening, enjoyable and stressful. To begin, research into Nicolas de Staël’s background and personal life provided me with a starting point to begin research. Unfortunately, I was unable to use several sources due to language barriers – many prime research materials were in French and only French. Additionally, much of the research I did was less relevant to the particular work that I chose, in which case, I opted for not including it in the work in order to save word count. With that said, the art context section is rich in research and pertains strictly to the painting of choice.
The Proposal for Sale portion of this work is a detailed analysis into the market for Nicolas de Staël’s work, Syracuse. Data included in this project highlights the opportunity for sale at Christie’s King Street on 02 October 2020. In terms of research for the consignment proposal, I was very diligent and careful with the data that was included in the main body of the work. Often times, research and analysis would indicate differently than what is presented here. However, in an effort to maintain a convincing Proposal for Sale and ensure Christie’s success in this consignment, I strategically omitted crucial information and did not expand on areas (where, academically, an explanation would have been expected). I have included endnotes in those situations, as not to discredit this work. Additionally, many decisions were made based on the suggested auction estimate, limiting certain opportunities and creating others, particularly in regard to the Global Marketing Strategy.
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Appendix 2
Above is an image of Nicolas de Staël’s catalogue raisonné, a crucial resource for the catalogue entry of this project. Below is the translation used, as advised by Alexia Forcet-Sagorin. “763 Syracuse, 1954 Oil on canvas, 50 x 73 cm, entitled, signed and dated on the back of the painting, bottom right corner; Syracuse/Staël 1954, there is a circle in the back of the painting, as well: O; painted in Ménerbes in1953 and 1954. Exhibited Athens/Rhodes, 1987 n 6; Geneva 1992 cat. 20 rep. coul.; Paris, 1992 (Malingue).; Tokyo/Kamakura/Hiroshima 1993 cat. 35 rep. coul.; Martigny 1995 cat. 39 rep. coul. Literature CR 1968 n 709 rep. p. 300 (1 st floor), p. 322; El Beblawi 1992 rep. p. 24 Provenance Paul Rosenberg, New York (5541). Private Collection, Paris. Sold at the Maison Drouot, Paris 28 March 1990 n 17 rep. coul. Collection Private Collection N. B.: Originally, there was a signature in the bottom left corner but after a restoration made by Nicolas de Staël in 1955, it disappeared.”
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Appendix 3
The above picture represents the back of Syracuse by Nicolas de Staël. This picture was taken on July 9, 2019 whilst the painting was on view at the Olivier Malingue Gallerie in London, England. The significance of the circle relates to de Staël’s personal perception of the painting. As stated in the Single Object Catalogue, de Staël was known to be a severe perfectionist. However, in a letter written to Paul Rosenberg, the black circle on the back of the painting indicates de Staël’s satisfaction with the painting, a symbol not very often applied to his works. It is unknown exactly how many of de Staël’s paintings possess the black circle. The label in the bottom left corner reads: “Galerie Daniel Malingue; Artist: De Staël; Number: 160; Title: “Syracuse”; Medium: HST; Date: 1954; Format: 50 x 73cm. The label in the upper right corner reads: “ MAT [illegible] Securitas Express; Artist: Nicolas De Stael; Title: Syracuse; Lender: Hoffmann Fine Art Geneve.” 44
Appendix 4 Condition Assessment Overall, Syracuse (1954) by Nicolas de StaÍl is in good condition. As noted in the Catalogue Entry, a 1955 restoration by the artist removed a signature located on the lower left corner of the canvas. Upon close examination, there is minor evidence that suggests age and a painting well-used. The lower right corner shows minor staining, mirrored on the upper left and upper right corners as well. A sign of age but a testament to the authenticity of this work. Throughout the canvas there are minor aging cracks in the paint. Additionally, areas where purple paint has stained the yellow paint is suggestive of the artist’s practice and does not pertain to the condition of the painting. Some discoloration is visible on the white paint. The lining of the canvas is also visible along the edges of the painting, suggestive of gentle to normal handling. The frame of the painting is in good condition. It is unknown whether the frame is the original or custom made for the painting by the gallery (or other). Additionally, the rear of the painting is mostly covered by a later addition of a wood backing. The wood has been cut to show the black circle and signature on the lower middle and right corner, respectively. Paper gallery and shipping labels have been added to the upper right corner and lower left corner. The original wood backing on the painting appears to be in good condition. There is a small chip on the upper left corner of the wooden backing. Additionally, small circular holes can be found along the lower backing suggestive of previous uses for mounting. Minor aging marks and stains are visible. Overall condition: Good.
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