By Ahmed Salem
Guillaume Cuiry is an art expert and a connoisseur of 20th century designs. His flair for collecting art furniture was developed at a very early age, and his interest in the world of vintage pieces was further ignited by his best friend Jacques, a collector of 40’s and 50’s antiques. He is also the founder of La Galerie Nationale, based in Dubai.
Seeing a shortage for genuine vintage pieces in Dubai led Guillaume to set up La Galerie Nationale in 2011. The gallery represents a whole list of prominent designers including Jean Royere, Jean Prouve, Pierre Guariche, Chatrlotte Perriand, Mathieu Mategot, Marco Zanuso, Alexandre Noll, Geoffrey Harcourt, Max Ingrand, Serge Mouille and Warren Platner.
The Peninsula had a chance to talk with Guillaume about the inception of La Galerie Nationale, and to pick his brains about the state of the vintage art furniture market in the GCC.
Here are the edited excerpts:
What ignited your passion for collecting vintage furniture to art?
My parents always decorated their home with taste and style, but my real love for the designs of the 20th century came from my childhood best friend who took the initiative to open in the early 80’s a space in Paris’ Flea market, fully dedicated to the past World War II furniture, at a time when nobody was interested. The challenge of reviving the designers that everyone tended to forget was fantastic.
Among all the pieces that you’ve collected over the years, what is your most prized?
The most valuable pieces are certainly not the most expensive but the most difficult to find or acquire. For example, I remember the difficulty to recreate the set (4 armchairs and coffee table) by Warren Platner, to group the 5 original pieces from 1966 took over 7 years. I also remember the emotion during the acquisition of a very rare coffee table "Mondrian" made by Mathieu Mategot, after years of research. These rare art furniture pieces which took quite some time to locate and acquire are displayed in our gallery.
How did you come up with the concept of La Galerie Nationale, and how did you bring this concept to maturity?
The concept of the gallery is to promote the design of the 20th century through outstanding designers, who produced limited editions of their brilliant works centered on innovation and creativity. The principle is to recall that the integrated pieces in a contemporary decoration are of incredible modernity and very often an excellent investment.
Do you see yourself expanding La Galerie Nationale in other GCC countries?
La Galerie has not yet explored this in the short term. However, given the growing demand in the GCC, we are now studying the possibility of opening other spaces in the Middle East.
How do you assess the vintage art furniture market in the GCC, particularly in Qatar?
It is a booming market. Customers are well respected by offering real, original and iconic pieces. Our position, which is geographically at the center of the Arabian Peninsula, allows us to offer our pieces across the GCC countries. Qatar is certainly the most dynamic country in the art industry with very high quality buyers. This is typically a country that would be interesting for La Galerie Nationale, to open a specialized space with a partner as passionate as us.
In a digital age where lovers of vintage art furniture can simply collect valuables from online outlets such as "1stdibs" and others, do you think that these digital outlets can take away from the experience of collecting vintage art furniture, and eliminate the middle man (vintage art furniture dealers)?
I would have to say "yes" to this question but unfortunately it is unthinkable for three main reasons: the first is that these pieces in our gallery, are often unique and the best way to appreciate them is to discover them in reality. The best picture of the world will never give a real vision of the actual room. The second, is that we are not in mass market or in retail, so each piece is a discovery in its aesthetic of course, but also in its technical expertise, its manufacturing quality, its history. As good a website is, it could not transmit the soul of a single piece. The third, perhaps the most important is that, alas, many bad people are online, tainting the new sales process with intentions not always very honest. A gallery has a physical existence or presence with known partners, experts, financial guarantees, intellectual, cultural, and moral obligations to its valued clients. The edition of a Certificate of Authenticity is a very serious commitment over the long term.
Do you have any advice for like-minded individuals who have developed a passion for vintage art furniture, and would like to pursue this passion professionally?
The courses are much more important than we think because they can learn the basics of our environment, especially the historical part. Then nothing beats the experience gained by visiting galleries, reading books, and especially engaging with other like-minded professionals. The world's best experts all begins with mistakes, but their intelligence consist in drawing a solid experience.
Do you have any advice for Vintage art furniture lovers who want to develop their own personal collection?
The best advice is to just be passionate and curious. These qualities will lead them to be interested in depth, of all aspects and be involved in the community. Do not hesitate either to visit us, we love to pass on our passion in a very educational way. If in doubt about a purchase (period, authenticity, designer), we will be on hand to offer our advice. Finally, and this is from my own experience: buy books, visit museums, visit galleries, visit exhibitions. Educate yourself well and keep on learning. The first purchase is very important because it often defines a long process of acquisition and it takes time to decide on a particular piece of art that you would want to own. Choose not necessarily because the piece is expensive but choose intelligently. Alas, only experience enables us to acquire wisdom.
The Peninsula
