Brame & Lorenceau

With BRAFA around the corner where Brame & Lorenceau will showcase modern artworks, I spoke to the friendly brothers Thomas and Antoine Lorenceau, both directors of the gallery Brame & Lorenceau.

artfairmag: Brame & Lorenceau has participated for a very long time in top European fairs like TEFAF Maastricht, BRAFA, La Biennale Paris, the Salon du Dessin or Fine Arts Paris. Do you consider them in a similar way or is your approach different for each of them?

Thomas Lorenceau: We have a specific consideration for each fair. Depending on the event, we proceed to a selection of works which spans from Impressionism to Post-war and Contemporary art.

artfairmag: You have a reputation as being focused on modern art. Does your participation in generalist art fairs such as TEFAF or BRAFA broaden your client base to ancient and contemporary art collectors?

Antoine Lorenceau: We propose a choice of international modern and post war works of art, which is the main axis of selection of the Gallery. Most of our clients have a specific interest in this period of art, and some have a universal approach of their collection and are open to other artistic domains.

artfairmag: How do you select artworks for a fair, and how is your choice influenced by the DNA of a specific fair?

T. L.: We tend to select works which in our view are representative of the artist’ general corpus.
A. L.: Our selection is indeed partially made in accordance with what we perceive of a fair and how it evoluates in terms of art offer and clientele.

artfairmag: Your gallery has been located at boulevard Malesherbes in Paris since 1921! A square booth in a fair is quite different from one of the cosy and intimate rooms there. How do you think this changes the way people view your artworks, and does it change the way you sell them?

A. L.: As a long run family business, the Gallery has a lot to do with the renewed confidence that clients have in us over the years. Collectors and curators come by appointment and appreciate the intimacy of a private presentation in our gallery spaces.
T. L: On the other hand, art fairs enable a general vision of the art market, both for clients and dealers. They facilitate contact and allow to share the experience of the art selection on the booth.
A. L.: Clients and visitors seem to appreciate our selection whether at the gallery or in an art fair. But art fairs also may have an emulating effect that helps initiating a transaction.

artfairmag: BRAFA 2020 will open in a few weeks. Our readers would love to know more about what you are going to showcase. Could you give us some clues? Which aspects of the fair are you most looking forward to?

T. L.: We plan to exhibit a large painting by Hans Hartung, T1989-R7. We have exhibited the artist at the gallery last year in a show dedicated to the works from the 1950’s and 1960’s. A large retrospective show on Hartung is currently held at the MAM of Paris.
A. L.: For our second edition at BRAFA, we look forward to develop new contacts with local collectors and discover more of Bruxelles institutions.

artfairmag: What are your favourite moments when you are participating in a fair? The excitement of the opening, quiet conversations with collectors over the following days or cheerful evenings with other art dealers?

A. L.: An art fair works almost like a ritual. We enjoy the moment of the installation. When the booth and the works presentation are completed, we always feel a personal achievement. We also appreciate catching up with collectors and dealers on these occasions and meeting new people. Finalizing a deal is also a source of enjoyment. If not on site, it often happens that we sell exhibited works at a later date with an equal satisfaction.