Didier Aaron: Antique dealers challenge the digital !
You would think that nothing is further remote from an antique dealer proudly living in majestic 18th-century marquetry offices than the wave of digital technology and its call for immediacy? Then you are mistaken. Didier Aaron proves to us that antique galleries deserve the right to space on the Internet, shaking the dust out of marketing which for the least was archaic and adapting it to the new logic of the market. After Paris, New York and London, the next rendez-vous is thus at www.didieraaron.com.
Beyond borders
From Fragonard to Boulle, from Oeben to Titien, the Didier Aaron Gallery has never failed to live up to its reputation of exceptional expertise when it comes to artwork. We will recall its involvement in one of the most important transactions ever realized for an old painting: this Titien painting acquired for over 50 million dollars by the J. Paul Getty Museum in the United States. A monument. In view of this, with globalization, new fortunes, and new art connoisseurs emerging from the four corners of the world... from Russia, China, India, the Middle East, Africa or yet South America, these new potential collectors shine by the diversity of their tastes and often an unequal sensitivity for French works. It would be a wise move to enlighten this nomad and curious public about the eclecticism of the 17th, 18th and 19th centuries in order not to be left behind. The only response to this observation? The need to draw on the powerful strength of Internet to capitalize on one’s "inventory" and to win over the public of the entire world.
More than 150 works... in digital format
Ah ! The long fall "hunting around for antiques" seems such a long time ago, those unending hours observing, touching, feeling the prized object, asking about the story behind a certain Louis XVIth cabinet or commode... Nowadays, all this is replaced by zooming in to observe the details of that 18th century writing desk entirely in straw marquetry, or simply a little click here to view the past of that piece to familiarize ourselves with it, straight away. Happiness never happens alone, an indispensable warning system enables us to keep abreast of the online entry of works likely to interest us, while an immediate booking system can be activated by a simple click if the frenetic desire to acquire a certain piece haunts us in the middle of the night. Of course, the virtual gallery does not open the doors to Didier Aaron’s, entire inventory but with some 150 work specimens, it paves the way for a system which is clearly bound to generalize.
From Fragonard to Boulle, from Oeben to Titien, the Didier Aaron Gallery has never failed to live up to its reputation of exceptional expertise when it comes to artwork. We will recall its involvement in one of the most important transactions ever realized for an old painting: this Titien painting acquired for over 50 million dollars by the J. Paul Getty Museum in the United States. A monument. In view of this, with globalization, new fortunes, and new art connoisseurs emerging from the four corners of the world... from Russia, China, India, the Middle East, Africa or yet South America, these new potential collectors shine by the diversity of their tastes and often an unequal sensitivity for French works. It would be a wise move to enlighten this nomad and curious public about the eclecticism of the 17th, 18th and 19th centuries in order not to be left behind. The only response to this observation? The need to draw on the powerful strength of Internet to capitalize on one’s "inventory" and to win over the public of the entire world.
More than 150 works... in digital format
Ah ! The long fall "hunting around for antiques" seems such a long time ago, those unending hours observing, touching, feeling the prized object, asking about the story behind a certain Louis XVIth cabinet or commode... Nowadays, all this is replaced by zooming in to observe the details of that 18th century writing desk entirely in straw marquetry, or simply a little click here to view the past of that piece to familiarize ourselves with it, straight away. Happiness never happens alone, an indispensable warning system enables us to keep abreast of the online entry of works likely to interest us, while an immediate booking system can be activated by a simple click if the frenetic desire to acquire a certain piece haunts us in the middle of the night. Of course, the virtual gallery does not open the doors to Didier Aaron’s, entire inventory but with some 150 work specimens, it paves the way for a system which is clearly bound to generalize.
Février 2009
