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May
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About Christie's
- Artists' Opportunities
May 2011
How has the public’s interest in modern and contemporary art from the Middle East changed since Christie’s first such auction in Dubai in 2006?
There is a huge appetite for art in the Middle East and Christie’s has sold just under $212 million of art, watches and jewellery since the first art auction in the region took place in 2006. We are quietly confident that the Middle East art market will continue to grow as international collectors develop their interest in collecting Middle Eastern art.
How did this year’s sale compare to that first one in quantity and quality of the work?
When we first started sales in the Middle East we included a proportion of Western art in the lots that made up the art sale. Since then, however, we found that we were being asked to include such high quality works from Middle Eastern artists, that we wanted to concentrate on showcasing their talents to the world through dedicated auctions. This in itself is a good gauge of how the market has developed in such a short space of time.
This April we chose to follow a slightly different course in the make-up of this, our tenth sale season, by focusing on stellar contemporary works as much as on the remaining modern masterpieces. With five of these works making it into the top ten, it is clear that this is exactly what collectors are looking for.
And how did it compare in terms of sales?
The first Dubai sale realised $8.4 million (including jewellery) and the most recent sales, held in April 2011, totaled $11.9 million.
Was the interest this year mainly from buyers in the Gulf region or collectors from all around the world?
One very encouraging trend we have noticed in collecting tastes is that when we held our first sales in 2006-7 it was mainly people buying art from their own country. Much of the growth of the art market in the Middle East has been because buyers of modern and contemporary art have begun looking at that of their neighbours and including it in their collections. Over the last three years we have seen Arab buyers of Iranian art, Indian buyers of Arab art, and now Iranians and Arab art collectors looking towards Turkey. This means that the market is not reliant on a single group of buyers or particular region or country in the world – providing a real depth and breadth to the market and greater international exposure to the artists. In our last sale 45% of the buyers were international with 55% from the Middle East, proving that the market is truly international.
What were the biggest surprises from the sale?
As I said before, we chose to follow a slightly different course in the make-up of this, our tenth sale season, by focusing on stellar contemporary works as much as on the remaining modern masterpieces. With five of these works making it into the top ten, it is clear that this is exactly what collectors are looking for. Whilst this was not a surprise, it is very encouraging to see this positive response from our collectors and we were delighted to see so many new faces at our pre-sale exhibition and for the auctions themselves.
However, one of the big highlights of Christie’s last April sale was the wonderful selection from Edge of Arabia being sold to fund an arts education program in Saudi Arabia. With a pre-sale estimate of $135,000, all six works ended up selling for $1,051,000 and it was so exciting to be there in the room when the hammer went down at $700,000 for Abulnasser Gharem’s magnificent dome, The Message/Messenger. The entire room exploded into applause and it was a proud moment for us and one that we will remember. His work broke all records and became the most expensive work by a GCC artist.
Gharem’s The Message/Messenger really went through the roof, especially considering that he is not even 40 years old. How many people were bidding on it? The estimate was $70,000-$100,000, but it sold for $842,500, which is a world record for the artist at auction. What do you think was the ultimate appeal of the work?
The audience clapped loudly when this lot, the leading lot from the Edge off Arabia section, sold for $842,500 / AED 3,093,660, more than ten times its original estimate. I couldn’t keep track of the numbers bidding on it, both on the ‘phone and in the room, but we had at least six to eight bidders on this lot. It was the iconic work from their the Istanbul Edge of Arabia: Transition show and, given its scale and the impact of the works by this group, it is a very attractive piece for any collector in this category.
Gharem’s work is politically engaged. The sale also had a number of works by artists that addressed political and social issues. How did they fare?
The work created by some of the leading and lesser known contemporary artists can be challenging and often confront social and political issues. The integrity of the work is central and collectors in this category are not afraid of the content or the questions they may raise. One of my favourite pieces in the sale was by the Lebanese artist Ayman Baalbaki, which sold for $206,500, a new record for the artist. It had a powerful political message but was incredibly beautiful as a work of art and retained a very painterly quality about it.
The Message/Messenger was consigned by Edge of Arabia, a London-based platform for Saudi artists that sold six works as part of a fundraising event. How much of a game changer was this sale for them and how will the funds benefit the young organization?
The sale was expected to raise around $150,000 but on the night made more than $1 million. This will make a huge difference to what Edge of Arabia can achieve. The two founding artists, Ahmed Matter and Abdulnasser Gharem, have grown up without any formal artistic training and they did not want the next generation of artists to go through the same. As such, in an act of extreme generosity, they asked other artists to join them in their cause and each donate an iconic work to raise the funds to put together an arts program in the Kingdom. This is the first time anything like this is being done and we hope more artists and non-profit organization will follow and take example.
As Abdullah Al-Turki, Creative Director of Edge of Arabia said after the sale: “We all wish to thank Christie's for providing an international platform which confirms that these works by Saudi artists can hold their weight as record breaking pieces of contemporary art. The proceeds from the Edge of Arabia works sold tonight will go toward nurturing a new generation of artists and curators in Saudi Arabia.”
What does it mean for Saudi artists?
Saudi Arabian artists have been sold at auction before. Christie’s included a group in their 2009 sale. Each auction provides an opportunity for their work to reach an increasingly international audience and this can only be good for all Saudi artists.
Two of the other top sellers were purely aesthetic pieces by Egyptian and Iraqi artists, Abdul Hadi El-Gazzar’s Fishing (1957), which sold for $746,500, and Jewad Selim’s Standing Figure (Girl), from 1941, that sold for $662,500. What was the attraction to these works that also led them to reach world auction prices for the artists?
Both works set new world auction records and were true masterpieces by the artists. Inevitably the supply of modern works is not endless as many of those artists now recognized for their talent internationally are no longer with us. This ensures that when works of great quality emerge, they are much sought after. Furthermore, both of these works were very rare. It is very difficult to find a sculpture like the one we sold by Salim, as the artist rarely worked in wood. This one had rarely been seen before and had been the same collection for many years. As for the Gazzar painting of 1957, this was an important Surrealist work by the artist and in very good condition. These are very hard to find also and collectors recognize the rarity and quality of such pieces.
Calligraphic works by the Iranian artists Mohammed Ehsai (Eshgh, 'Love', 2006, estimated $180,000-240,000, sold for $458,500) and Farhad Moshiri (8N619VT, 2005, estimated $180,000-240,000, sold for $338,500) were also in great demand. What makes these types of works perennial favorites?
Calligraphy is an iconography which can be appreciated by all people and reaches into the most ancient of traditions in the Middle East. When combined with the genius of these two masters, the combination is irresistible.
The subtlety of the Moshiri was in the texture and transparency of the surface and the many colors shining through from the various layers of paint. It is one work, which really needed to be seen in person to appreciate its quality and was, in my opinion, one of the best works I have seen by Moshiri.
Besides Gharem, there were a number of other young artists, including Ayman Baalbaki, Youssef Nabil, Sara Rahbar, and Afsoon, that also reached prices well above the high estimates. What does that say about the art from the region and its Diaspora? Were the buyers for these younger artists regional or international?
I think this clearly shows that there is great talent in the region and global collectors are recognizing this. As I said before, this sale focused much more on great contemporary art and we really carefully curated this sale to present some of the best works from established but also younger artists. Thus we achieved 42 artist records in one sale, adding to the 316 we already had.
What about the pieces that were bought in? Were there any surprises there? Were estimates simply too high or seller’s expectations too great for Paul Guiragossian’s Nocturne (1987), which was estimated at $100,000 -150,000 yet didn’t sell, and Abbas Kiarostami’s Snow White, from 2008, that was estimated at 50,000 - 70,000 but had no takers?
It is always disappointing when a piece doesn’t reach its reserve and is unsold and we do our best to ensure that each lot consigned is saleable. There was some interest in these lots after the sale and overall we found buyers for 87% of the auction.
Are the best Middle Eastern artists working today artists living in the region or are they globally based?
It is a real mixture with some artists resident abroad and others living in the region. The Edge of Arabia group is a reflection of this as some choose to live in Saudi Arabia and others elsewhere. Just as the market is international, so are the artists.
How active are international museums in collecting art from the region?
We don’t discuss our buyers individually but it is widely known that Middle Eastern Modern and Contemporary art is being sourced for public collections around the world, from the Tate to the Metropolitan Museum.
What are the leading institutions assembling collections of modern and contemporary Middle Eastern art?
We are fortunate that there are so many institutions, private collectors, artists, galleries, art fairs, and magazines who we are continually working alongside to help shape and encourage the arts in the region. It is a joint effort. The support of institutions such as Abraaj, the Barjeel Foundation, the Farjam Collection, the Dubai Culture & Arts Authority, TDIC and many others, are extremely important to the development and success of the Middle Eastern art scene.
There are many other great factors shaping the regional cultural arena. Amongst these was the first-time participation of the United Arab Emirates at the prestigious Venice Biennale in 2009. There was also the recent opening of the Mathaf Museum in Doha, which is solely dedicated to Modern and Contemporary Art from the Middle East. Abu Dhabi’s Saadiyat Island project, with the Louvre and Guggenheim set to open in a few years, is totally inspiring as it will provide another permanent home for arts and culture in the Middle East. The region is being shaped through the efforts of many visionary people and organisations and this investment will influence many generations for years to come.
Are collectors buying to donate to museums?
Collectors tend to be very discreet but have had a huge role to play in the development of contemporary Middle Eastern Art. There is an ever increasing group of new buyers who, combined with a dedicated core of collectors who have been following these artists for decades, help to promote and support emerging and established artists. The Farjam Collection, which is exhibited in their permanent space at the DIFC, is a perfect example of one long-time collector’s passion for art. A private initiative, this is one man’s life-long project which he has decided to share with the world, using his space as a mini-museum to showcase Middle Eastern artists and educate visitors on the burgeoning art scene of the region.
Other noteworthy examples include Abraaj’s sponsorship of Art Dubai, the Abraaj Capital Art Prize, or the Barjeel Foundation in Sharjah, which is the product of H.E. Sheikh Sultan S. Al Qassemi’s passion and strive to support the art of his region.
All of those involved in the art scene have a part to play. We ourselves, as market leaders, take our responsibilities very seriously and actively engage in educational events and programs that support and encourage the institutions, artists that are helping to develop the arts in the Middle East. Art collectors in the region are very generous and keen to share their collections. We recently helped the TDIC organize the “Opening the Doors” exhibition in Abu Dhabi, which showcased important Middle Eastern art from private collections and was free and open to the public for several months. Without the generosity of our collectors, this would not have been possible. Events like this are critical to encouraging more people to appreciate the rich culture of the region.
Contemporary Japanese, Chinese, and Indian art dramatically changed the art market over the past decade. Do you see Middle Eastern art being able to play that role today?
As I have already said, there is an important and international appetite for Middle Eastern Art and the market has achieved real depth and sustainability. We are confident that the Middle East art market will continue to grow as more collectors begin to buy, and more talented artists give in to their creativity.
As an example we should have a look at the figures produced by Christie’s Hong Kong which has a similar grouping of sale seasons as Dubai. Auctions there three years ago represented 8.2% of Christie’s sales but today they are up to 16.3%. Our Middle Eastern collectors are also transacting in our international sales as an increasingly significant group with the Middle Eastern spend in all Christie’s sales internationally increased by 400% since 2004.
But in the current political climate of unrest in the Gulf, will local artists that make socially conscious and identity driven work and regional collectors that buy it be perceived as liberals for change or protectors of a creative flame that goes back through centuries of time?
No artist works in a bubble and they are all influenced in some way by exterior factors, their work shaped by the past or present experiences. This often makes their work challenging and provocative and a product of their time. It remains to be seen what may emerge and how collectors respond to it.
Finally, what advice would you give collectors or simply regional art lovers to guide them through these tricky times?
Always buy what you love and chase quality! None of us are immune to the events going on but collectors, galleries, art fairs, museums and auction houses should continue to support and nurture our artists, and cultivate the growing and unifying cultural landscape of the region.
There is a huge appetite for art in the Middle East and Christie’s has sold just under $212 million of art, watches and jewellery since the first art auction in the region took place in 2006. We are quietly confident that the Middle East art market will continue to grow as international collectors develop their interest in collecting Middle Eastern art.
How did this year’s sale compare to that first one in quantity and quality of the work?
When we first started sales in the Middle East we included a proportion of Western art in the lots that made up the art sale. Since then, however, we found that we were being asked to include such high quality works from Middle Eastern artists, that we wanted to concentrate on showcasing their talents to the world through dedicated auctions. This in itself is a good gauge of how the market has developed in such a short space of time.
This April we chose to follow a slightly different course in the make-up of this, our tenth sale season, by focusing on stellar contemporary works as much as on the remaining modern masterpieces. With five of these works making it into the top ten, it is clear that this is exactly what collectors are looking for.
And how did it compare in terms of sales?
The first Dubai sale realised $8.4 million (including jewellery) and the most recent sales, held in April 2011, totaled $11.9 million.
Was the interest this year mainly from buyers in the Gulf region or collectors from all around the world?
One very encouraging trend we have noticed in collecting tastes is that when we held our first sales in 2006-7 it was mainly people buying art from their own country. Much of the growth of the art market in the Middle East has been because buyers of modern and contemporary art have begun looking at that of their neighbours and including it in their collections. Over the last three years we have seen Arab buyers of Iranian art, Indian buyers of Arab art, and now Iranians and Arab art collectors looking towards Turkey. This means that the market is not reliant on a single group of buyers or particular region or country in the world – providing a real depth and breadth to the market and greater international exposure to the artists. In our last sale 45% of the buyers were international with 55% from the Middle East, proving that the market is truly international.
What were the biggest surprises from the sale?
As I said before, we chose to follow a slightly different course in the make-up of this, our tenth sale season, by focusing on stellar contemporary works as much as on the remaining modern masterpieces. With five of these works making it into the top ten, it is clear that this is exactly what collectors are looking for. Whilst this was not a surprise, it is very encouraging to see this positive response from our collectors and we were delighted to see so many new faces at our pre-sale exhibition and for the auctions themselves.
However, one of the big highlights of Christie’s last April sale was the wonderful selection from Edge of Arabia being sold to fund an arts education program in Saudi Arabia. With a pre-sale estimate of $135,000, all six works ended up selling for $1,051,000 and it was so exciting to be there in the room when the hammer went down at $700,000 for Abulnasser Gharem’s magnificent dome, The Message/Messenger. The entire room exploded into applause and it was a proud moment for us and one that we will remember. His work broke all records and became the most expensive work by a GCC artist.
Gharem’s The Message/Messenger really went through the roof, especially considering that he is not even 40 years old. How many people were bidding on it? The estimate was $70,000-$100,000, but it sold for $842,500, which is a world record for the artist at auction. What do you think was the ultimate appeal of the work?
The audience clapped loudly when this lot, the leading lot from the Edge off Arabia section, sold for $842,500 / AED 3,093,660, more than ten times its original estimate. I couldn’t keep track of the numbers bidding on it, both on the ‘phone and in the room, but we had at least six to eight bidders on this lot. It was the iconic work from their the Istanbul Edge of Arabia: Transition show and, given its scale and the impact of the works by this group, it is a very attractive piece for any collector in this category.
Gharem’s work is politically engaged. The sale also had a number of works by artists that addressed political and social issues. How did they fare?
The work created by some of the leading and lesser known contemporary artists can be challenging and often confront social and political issues. The integrity of the work is central and collectors in this category are not afraid of the content or the questions they may raise. One of my favourite pieces in the sale was by the Lebanese artist Ayman Baalbaki, which sold for $206,500, a new record for the artist. It had a powerful political message but was incredibly beautiful as a work of art and retained a very painterly quality about it.
The Message/Messenger was consigned by Edge of Arabia, a London-based platform for Saudi artists that sold six works as part of a fundraising event. How much of a game changer was this sale for them and how will the funds benefit the young organization?
The sale was expected to raise around $150,000 but on the night made more than $1 million. This will make a huge difference to what Edge of Arabia can achieve. The two founding artists, Ahmed Matter and Abdulnasser Gharem, have grown up without any formal artistic training and they did not want the next generation of artists to go through the same. As such, in an act of extreme generosity, they asked other artists to join them in their cause and each donate an iconic work to raise the funds to put together an arts program in the Kingdom. This is the first time anything like this is being done and we hope more artists and non-profit organization will follow and take example.
As Abdullah Al-Turki, Creative Director of Edge of Arabia said after the sale: “We all wish to thank Christie's for providing an international platform which confirms that these works by Saudi artists can hold their weight as record breaking pieces of contemporary art. The proceeds from the Edge of Arabia works sold tonight will go toward nurturing a new generation of artists and curators in Saudi Arabia.”
What does it mean for Saudi artists?
Saudi Arabian artists have been sold at auction before. Christie’s included a group in their 2009 sale. Each auction provides an opportunity for their work to reach an increasingly international audience and this can only be good for all Saudi artists.
Two of the other top sellers were purely aesthetic pieces by Egyptian and Iraqi artists, Abdul Hadi El-Gazzar’s Fishing (1957), which sold for $746,500, and Jewad Selim’s Standing Figure (Girl), from 1941, that sold for $662,500. What was the attraction to these works that also led them to reach world auction prices for the artists?
Both works set new world auction records and were true masterpieces by the artists. Inevitably the supply of modern works is not endless as many of those artists now recognized for their talent internationally are no longer with us. This ensures that when works of great quality emerge, they are much sought after. Furthermore, both of these works were very rare. It is very difficult to find a sculpture like the one we sold by Salim, as the artist rarely worked in wood. This one had rarely been seen before and had been the same collection for many years. As for the Gazzar painting of 1957, this was an important Surrealist work by the artist and in very good condition. These are very hard to find also and collectors recognize the rarity and quality of such pieces.
Calligraphic works by the Iranian artists Mohammed Ehsai (Eshgh, 'Love', 2006, estimated $180,000-240,000, sold for $458,500) and Farhad Moshiri (8N619VT, 2005, estimated $180,000-240,000, sold for $338,500) were also in great demand. What makes these types of works perennial favorites?
Calligraphy is an iconography which can be appreciated by all people and reaches into the most ancient of traditions in the Middle East. When combined with the genius of these two masters, the combination is irresistible.
The subtlety of the Moshiri was in the texture and transparency of the surface and the many colors shining through from the various layers of paint. It is one work, which really needed to be seen in person to appreciate its quality and was, in my opinion, one of the best works I have seen by Moshiri.
Besides Gharem, there were a number of other young artists, including Ayman Baalbaki, Youssef Nabil, Sara Rahbar, and Afsoon, that also reached prices well above the high estimates. What does that say about the art from the region and its Diaspora? Were the buyers for these younger artists regional or international?
I think this clearly shows that there is great talent in the region and global collectors are recognizing this. As I said before, this sale focused much more on great contemporary art and we really carefully curated this sale to present some of the best works from established but also younger artists. Thus we achieved 42 artist records in one sale, adding to the 316 we already had.
What about the pieces that were bought in? Were there any surprises there? Were estimates simply too high or seller’s expectations too great for Paul Guiragossian’s Nocturne (1987), which was estimated at $100,000 -150,000 yet didn’t sell, and Abbas Kiarostami’s Snow White, from 2008, that was estimated at 50,000 - 70,000 but had no takers?
It is always disappointing when a piece doesn’t reach its reserve and is unsold and we do our best to ensure that each lot consigned is saleable. There was some interest in these lots after the sale and overall we found buyers for 87% of the auction.
Are the best Middle Eastern artists working today artists living in the region or are they globally based?
It is a real mixture with some artists resident abroad and others living in the region. The Edge of Arabia group is a reflection of this as some choose to live in Saudi Arabia and others elsewhere. Just as the market is international, so are the artists.
How active are international museums in collecting art from the region?
We don’t discuss our buyers individually but it is widely known that Middle Eastern Modern and Contemporary art is being sourced for public collections around the world, from the Tate to the Metropolitan Museum.
What are the leading institutions assembling collections of modern and contemporary Middle Eastern art?
We are fortunate that there are so many institutions, private collectors, artists, galleries, art fairs, and magazines who we are continually working alongside to help shape and encourage the arts in the region. It is a joint effort. The support of institutions such as Abraaj, the Barjeel Foundation, the Farjam Collection, the Dubai Culture & Arts Authority, TDIC and many others, are extremely important to the development and success of the Middle Eastern art scene.
There are many other great factors shaping the regional cultural arena. Amongst these was the first-time participation of the United Arab Emirates at the prestigious Venice Biennale in 2009. There was also the recent opening of the Mathaf Museum in Doha, which is solely dedicated to Modern and Contemporary Art from the Middle East. Abu Dhabi’s Saadiyat Island project, with the Louvre and Guggenheim set to open in a few years, is totally inspiring as it will provide another permanent home for arts and culture in the Middle East. The region is being shaped through the efforts of many visionary people and organisations and this investment will influence many generations for years to come.
Are collectors buying to donate to museums?
Collectors tend to be very discreet but have had a huge role to play in the development of contemporary Middle Eastern Art. There is an ever increasing group of new buyers who, combined with a dedicated core of collectors who have been following these artists for decades, help to promote and support emerging and established artists. The Farjam Collection, which is exhibited in their permanent space at the DIFC, is a perfect example of one long-time collector’s passion for art. A private initiative, this is one man’s life-long project which he has decided to share with the world, using his space as a mini-museum to showcase Middle Eastern artists and educate visitors on the burgeoning art scene of the region.
Other noteworthy examples include Abraaj’s sponsorship of Art Dubai, the Abraaj Capital Art Prize, or the Barjeel Foundation in Sharjah, which is the product of H.E. Sheikh Sultan S. Al Qassemi’s passion and strive to support the art of his region.
All of those involved in the art scene have a part to play. We ourselves, as market leaders, take our responsibilities very seriously and actively engage in educational events and programs that support and encourage the institutions, artists that are helping to develop the arts in the Middle East. Art collectors in the region are very generous and keen to share their collections. We recently helped the TDIC organize the “Opening the Doors” exhibition in Abu Dhabi, which showcased important Middle Eastern art from private collections and was free and open to the public for several months. Without the generosity of our collectors, this would not have been possible. Events like this are critical to encouraging more people to appreciate the rich culture of the region.
Contemporary Japanese, Chinese, and Indian art dramatically changed the art market over the past decade. Do you see Middle Eastern art being able to play that role today?
As I have already said, there is an important and international appetite for Middle Eastern Art and the market has achieved real depth and sustainability. We are confident that the Middle East art market will continue to grow as more collectors begin to buy, and more talented artists give in to their creativity.
As an example we should have a look at the figures produced by Christie’s Hong Kong which has a similar grouping of sale seasons as Dubai. Auctions there three years ago represented 8.2% of Christie’s sales but today they are up to 16.3%. Our Middle Eastern collectors are also transacting in our international sales as an increasingly significant group with the Middle Eastern spend in all Christie’s sales internationally increased by 400% since 2004.
But in the current political climate of unrest in the Gulf, will local artists that make socially conscious and identity driven work and regional collectors that buy it be perceived as liberals for change or protectors of a creative flame that goes back through centuries of time?
No artist works in a bubble and they are all influenced in some way by exterior factors, their work shaped by the past or present experiences. This often makes their work challenging and provocative and a product of their time. It remains to be seen what may emerge and how collectors respond to it.
Finally, what advice would you give collectors or simply regional art lovers to guide them through these tricky times?
Always buy what you love and chase quality! None of us are immune to the events going on but collectors, galleries, art fairs, museums and auction houses should continue to support and nurture our artists, and cultivate the growing and unifying cultural landscape of the region.
Modern and contemporary art from the Middle East and its Diaspora has finally found its market. Over the past five years, since Christie’s first such sale in Dubai, the demand for work from the region has grown by leaps and bounds. Christie’s auction of Modern and Contemporary Arab, Iranian and Turkish Art on April 19th at the Jumeirah Emirates Towers Hotel in Dubai posted 120 lots with a pre-sale estimate of $5 million to $6 million, but totaled nearly $8 million, while setting 42 new world auction records for Middle Eastern artists.
Following up on this phenomenal sale, Art Bahrain contributing editor Paul Laster caught up with Isabelle de La Bruyère, Director, Christie’s Middle East to discuss the development of the Middle Eastern art market, the nature of the work on sale, and the record-breaking results.
Following up on this phenomenal sale, Art Bahrain contributing editor Paul Laster caught up with Isabelle de La Bruyère, Director, Christie’s Middle East to discuss the development of the Middle Eastern art market, the nature of the work on sale, and the record-breaking results.
Christie’s are the leading art auctioneers in the Middle East and the leading art business in the world. They were the first international auction house to have a permanent presence in the region, as well as the first to hold auctions which provided an international platform for artists of the region. Christie’s has sold just under $212 million of art, watches and jewellery in the Middle East since the first international art auction in the region took place in 2006, and has seen buyers from as many as 30 different countries participating at each sale.
Christie’s auctions of Modern and Contemporary Arab, Iranian and Turkish Art and Jewels: The Dubai Sale will be held in October 2011 in Dubai.
Christie’s auctions of Modern and Contemporary Arab, Iranian and Turkish Art and Jewels: The Dubai Sale will be held in October 2011 in Dubai.
Middle Eastern Art Sales Hit a High Mark
About Isabelle de La Bruyère
Isabelle de La Bruyère moved to Dubai to focus on client
development in the region, in March 2009 to enable her to
work more closely with Christie’s Middle Eastern clients,
government bodies and institutions in the region.
However she has been part of the Christie’s Middle East
management team since the office opened in the region in
2005. She has organized important exhibitions of jewellery
and art, charity sales and, together with the Dubai team,
established Christie’s presence and market share in the Middle East in the bi-annual, record-breaking auctions. She regularly lectures on Middle eastern art and supports the increasing number of institutions in the region.
Isabelle de La Bruyère joined Christie’s London in 1997 after she received her postgraduate
diploma in 19th and 20th Century art, while working at the Impressionist department of the Metropolitan Museum of Art in New York. At Christie’s London,
Isabelle specialized in Impressionist and Modern Art, before heading the annual sales
of Ottoman & Orientalist Art. In 2003, she moved to support the firm’s business development activities and to enhance client relationships. A French citizen, Isabelle was educated in America and France and speaks French, Spanish and English.
development in the region, in March 2009 to enable her to
work more closely with Christie’s Middle Eastern clients,
government bodies and institutions in the region.
However she has been part of the Christie’s Middle East
management team since the office opened in the region in
2005. She has organized important exhibitions of jewellery
and art, charity sales and, together with the Dubai team,
established Christie’s presence and market share in the Middle East in the bi-annual, record-breaking auctions. She regularly lectures on Middle eastern art and supports the increasing number of institutions in the region.
Isabelle de La Bruyère joined Christie’s London in 1997 after she received her postgraduate
diploma in 19th and 20th Century art, while working at the Impressionist department of the Metropolitan Museum of Art in New York. At Christie’s London,
Isabelle specialized in Impressionist and Modern Art, before heading the annual sales
of Ottoman & Orientalist Art. In 2003, she moved to support the firm’s business development activities and to enhance client relationships. A French citizen, Isabelle was educated in America and France and speaks French, Spanish and English.
About Paul Laster
Paul Laster is an editor, writer, and independent curator. He is editor of Artkrush.com, and a contributing editor at Flavorpill.com, artBahrain and ArtAsiaPacific magazine. He was the founding editor of bkyn, an online journal of the arts, first art editor of Flavorpill.com, and last art editor of Russell Simmons' OneWorld magazine. He has been a frequent contributor to Time Out New York, Art in America, New York Observer, Modern Painters, Tema Celeste, amNew York, TheDailyBeast.com, and Artnet.com.
Paul Laster is an editor, writer, and independent curator. He is editor of Artkrush.com, and a contributing editor at Flavorpill.com, artBahrain and ArtAsiaPacific magazine. He was the founding editor of bkyn, an online journal of the arts, first art editor of Flavorpill.com, and last art editor of Russell Simmons' OneWorld magazine. He has been a frequent contributor to Time Out New York, Art in America, New York Observer, Modern Painters, Tema Celeste, amNew York, TheDailyBeast.com, and Artnet.com.