The law of supply and demand plays to full

Remember these two names. Of course, they are Italian, since they are designers. The first, Ettore Sottsass (1917-2007), was the giant in his field and reigned on the Milanese establishment. His cadet, Andrea Branzi, produced conceptual objects, fruits of the concerns of today's society. These protagonists, all ingredients are gathered: talent, a singular posture, a market already fed, amateurs of the highest caliber, Museum exhibitions. If the ratings remain in some cases still available, it is simply a matter of taste, look. Because these forms there are disturbing.

The observation of the market of design timely at this time of year in Paris with sales at auction and the opening of the Pavilion of arts and design (1) whose strong point is the contemporary furniture.

"There is no crisis in design", explains Jean-Marcel Camard, the Director of the House of namesake sales, French leader in the field of decorative arts. "Simply put, we act as Anglo-Saxon houses in the area of contemporary art." In a severe manner, we select works with current tastes. Secondly, we ask the vendors to be relatively sympathetic to accept estimate prices low, much lower than the price expected in fact. This gives the impression that the market is not "pushed" to potential buyers. The law of supply and demand plays to full. Last October, we sold 90 of the lots and we have registered many outstanding awards. "In fact, Jean-Marcel Camard also recognizes that a lesser mass of money is now devoted to the design. "Big prices on the second market - consisting of galleries that sell old production - for designers the most prominent such as Ron Arad or Marc Newson are more difficult to sell." There is a realignment of the ratings.

François Laffanour Gallery Downtown, this pavilion of arts and design, in the garden of the Tuileries, defended the work of the anglo-israélien designer Ron Arad, who was in the last months the subject of exhibitions at the Pompidou Centre, at the MoMA in New York and the Barbican Gallery, London on 16 may now. "It is in the second period of his career." He has a real maturity and is a genius in his field. Still has much been shown and that his work has been, in recent years, the subject of speculation. He arrived that purchased me a Chair model "blo voïd" for 50,000 euros and that it be delivered immediately for sale for 120,000 euros. Today, metal parts from 20 copies are sold between 80,000 and 100,000 euros. "On its booth in the Pavilion of arts and design, Gallery Gabrielle Ammann in Cologne, historical defender of the work of Arad offers just two armchairs"blo voïd", of the rocking-chairs of the 21st century to curved shapes in polished steel dated 2004 for 85,000 euros in edition of 20 copies. The shipping States not lowering its prices over the past two years.

In the series, "the crisis, what crisis", several pieces of Italian rising Branzi and Sottsass values are also offered at the Pavilion. They arrive in a supportive environment. Last October, K. and Associates awarded certainly the most emblematic work of the work of Branzi, "Amnesia" a Cabinet shelf varnished steel crossed by a real branch of tree for 39.400 euros then that it had estimated 7,000 euros. At the stand of the Milanese Rossella Colombari, a conceptual shelf which takes in giant, the principle of the drug under blister - series also was named "Blisters" is to sell 20,000 euros. In a fun text written in 2004, Branzi, also professors at the Polytechnic School of Milan stated: "as frozen foods, the blisters are part of the new technologies of conservation." They are part of our world .... They are there to protect. "Plexiglas, iron and transparent satin acrylic shelf looks like a showcase of the 21st century. The merchant François Laffanour admits today collect Branzi objects to organize one day exposure. "It is a true poet." It gives a message of ecology, humanity. "According to the merchant, it is now signed parts Branzi between 2,000 and 45,000 euros. In Paris, it will be marked imaginations with a spectacular double installation exposed in 2008 at the Fondation Cartier. Branzi called this proposal made of metal, glass and metal branches "a low and diffuse modernity".

Branzi eight lots for sale

This March 31, K. and associated offers Drouot 8 Branzi lots at auction with a simple lamp in Japanese paper, wireless and equipped with a system of battery electric estimated 2,000 euros. In this sale, a chest of drawers-carving "Mobile Giallo", Ettore Sottsass, 18 drawer veneer of magnifying glass of Elm, a similar model was exhibited at the Pompidou Centre in 1994, is proposed with an estimate of 8,000 euros. On the stand of Rossella Colombari, a sort of totem made up of disparate painted ceramic cylinders is to sell for 22,000 euros. The market believes that "Sottsass market is emerging." Any post-1950s production should even increase. "I had sold this column in 1994 for the equivalent of 4,000 euros." François Laffanour adds that in Sottsass sorting must be done in its bloated production. "We have not yet a very clear vision of the whole of his work."

Lovers of the two Italian designers should make an appointment at Drouot on 19 may, when long disperse 60 objects from the Design Gallery in Milan, led by Mario and Brunella Godari, who financed and edited, among other things, these two creators for thirty years. There will be dramatic parts. A design on away from the bourgeois conventions of decoration. In 1980, Ettore Sottsass had created with the couple a grouping of designers which included Andrea Branzi, dubbed "Memphis". In his book on design Anne Bony (2) commented thus on this revolution: "the merit of the Milan group is to skip the design locks, disavowed its moral ideology." This process is similar to the experiment. "It is this unprecedented verve which attracted collectors.