Six kinds of work, kept under one roof.
Placement
Shows, showrooms, re-sees.
A seat is not a ticket. Placement is a relationship with a house's press office, held over years and spent carefully — which show, which row, and whether the showroom appointment that matters more comes after it.
- Show and presentation seating
- Showroom and re-see appointments
- Fittings and made-to-measure calendars
- Paris, Milan, London, New York
Fairs & Biennales
Venice, Basel, Frieze, TEFAF.
The fair is decided during the two days before it opens. We hold VIP and preview credentials across the majors, walk the floor with you or ahead of you, and get a first look sent through before it is on a wall.
- Preview and vernissage credentials
- First-look files ahead of the fair
- Booth routes built to a collection
- Pavilion and collateral access
The Sales
Auction representation and advisory.
We read the catalogue with you, form a view on estimate against condition and provenance, and sit the room — or the phone — on your instruction. Discretion here is the whole of the service.
- Catalogue review and condition reports
- Estimate and bidding strategy
- Representation in the room, by phone, absentee
- Private treaty introductions
04
Les collections privées
Private Collections
Houses and ateliers, opened.
The collections that never travel and the studios that do not receive. Visits are secured one at a time, by name, and the invitation is rarely repeated — so we make the day around it worth the journey.
- Private collection visits
- Atelier and studio appointments
- Foundation and reserve tours
- Curator-led walkthroughs, out of hours
Opening Nights
Opera, ballet, theatre.
Premieres sell before they are announced. We hold the houses on subscription-level terms, place you in the right box rather than the best one, and see to what happens after the curtain — which is usually the point.
- Premieres and gala evenings
- Boxes held across the season
- Festival residencies
- Suppers and after-curtain tables
Commissions
Brokering work that does not exist yet.
Approaching an artist is a matter of timing and of who is asking. We structure the commission — brief, fee, schedule, rights, installation — so the conversation stays about the work.
- Artist approach and introduction
- Brief, fee and schedule structuring
- Rights, editions and documentation
- Fabrication and installation oversight
No. 02La CadenceHow the year runs
A year has
a rhythm.
- September
- Files for the coming year are read. The calendar is drafted.
- December
- Members receive the Season, marked with what is already held in their name.
- Through the year
- Four scheduled conversations, and the bureau on the telephone whenever a deadline moves.
- August
- The bureau closes for two weeks, apart from Salzburg. So does everyone worth telephoning.
02
Février
The Collections
London · Milan · Paris
04
Avril
The Biennale opens
Venice
05
Mai
The spring sales
New York
07
Juillet
Couture · the festival season
Paris · Aix
09
Septembre
The Collections
New York · London · Milan
10
Octobre
Frieze · Art Basel Paris
London · Paris
11
Novembre
The autumn sales
New York
12
Décembre
Art Basel Miami Beach
Miami
The public calendar is the smaller half of it. The dates that matter to a member — a preview two days before a vernissage, a re-see that is never listed, a specialist’s call before a catalogue goes to print — are not printed anywhere, which is rather the point of the bureau.
Membership and terms