"Agalmata "(ancient Greek) : "objects that bring joy and satisfaction || images or sculptures || offerings "
AGALMATA is a small company based in Paris (France) specialized in the expertise (authentification, valuation), the protection of European and Mediterranean artworks, and in shaping art collections from antiquity to modernity ...
Over the years, the singular history of AGALMATA has been built around extraordinary art collections and artworks that were not attributed, not characterized or not referenced, which we have studied, valued (restorations, framing, etc.), presented to the scientific community, museum curators, art market actors...
concept
Connecting the academic world, art owners and, where appropriate, the art market.
Beyond the fortunate rediscovery of forgotten masterpieces, AGALMATA also contributes to the emergence of new patrimonial values through the recognition of artistic and cultural goods incorporating rare value indicators: technical interest; symbolic or ideological significance; scientificity; oneiric charge; emotional potential; rarity ...
Focusing on,
excellence
Through the systematic use of protocol procedures, the verification of referential sources and corpus,
by the survey of traceability
discretion
safety and preservation of artworks
By maintaining their physical integrity, with preventive and curative conservation measures, and by the use of highly secured areas
independence
Validation of artworks is primarily patrimonial, artistic and historical; it is done on the margins of the traditional appraisal system and, as such, is an alternative to art market certification (based on the adjudication price more often). Our approach, which is both collegial and pluridisciplinary, guarantees values that are hard to grasp, particularly in situations of uncertainty about unpublished or rediscovered artworks
audacity and passion
By prioritizing the intervention of artists, composers and poets, transforming presentations of artworks into emotional and immersive experiences
and cooperations
AGALMATA collaborates with other cultural actors and scientists from various disciplines (historians, chemists, art critics, curators, restorers, archaeologists, ...), giving priority to multidisciplinary and international cooperations
Beyond the fortunate rediscovery of forgotten masterpieces, AGALMATA also contributes to the emergence of new patrimonial values through the recognition of artistic and cultural goods incorporating rare value indicators: technical interest; symbolic or ideological significance; scientificity; oneiric charge; emotional potential; rarity ...
Focusing on,
excellence
Through the systematic use of protocol procedures, the verification of referential sources and corpus,
by the survey of traceability
discretion
safety and preservation of artworks
By maintaining their physical integrity, with preventive and curative conservation measures, and by the use of highly secured areas
independence
Validation of artworks is primarily patrimonial, artistic and historical; it is done on the margins of the traditional appraisal system and, as such, is an alternative to art market certification (based on the adjudication price more often). Our approach, which is both collegial and pluridisciplinary, guarantees values that are hard to grasp, particularly in situations of uncertainty about unpublished or rediscovered artworks
audacity and passion
By prioritizing the intervention of artists, composers and poets, transforming presentations of artworks into emotional and immersive experiences
and cooperations
AGALMATA collaborates with other cultural actors and scientists from various disciplines (historians, chemists, art critics, curators, restorers, archaeologists, ...), giving priority to multidisciplinary and international cooperations
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The founder,
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Dr Laure Chevalier - PhD in History of Art and Archeology at Paris X University, qualified as lecturer in history, archaeology and arts of ancient and medieval worlds (French section 21, CNU, 2002-2006)) is the owner of AGALMATA, a company she founded in 2006.
Laure Chevalier specializes in European Arts, mainly in masterpieces and particular collections (unicum/orpheline artworks / workshop fund and artist's estate / unattributed or indeterminate artworks) - as private art curator or purchase's advisor.
At the same time, Laure Chevalier is pursuing research activities at the Centre d'Archeologie Générale (Sorbonne University), teaches methodology for the expertise (authentification, valuation, attribution, traceability of artworks) at university, and participates in multidisciplinary programs, including the fight against art trafficking [national project POLAR - MRSEI (ANR / ENSP coordination) / European project NETCHER H2020 (European Commission / CNRS (France) coordination)].
Laure Chevalier's critical view come from an artistic learning wich began in childhood with her mother painter and engraver. She practised drawing and painting for 10 years at the Beaux-Arts of the City of Paris (Place des Vosges, courses of Agnes Carré), between 1980 and 1990.
Reading the marks of time on artworks comes from his former activity as an archaeologist, mainly in Greece, between 1995 and 2005, as an associate researcher of the French School of Athens.
Laure Chevalier specializes in European Arts, mainly in masterpieces and particular collections (unicum/orpheline artworks / workshop fund and artist's estate / unattributed or indeterminate artworks) - as private art curator or purchase's advisor.
At the same time, Laure Chevalier is pursuing research activities at the Centre d'Archeologie Générale (Sorbonne University), teaches methodology for the expertise (authentification, valuation, attribution, traceability of artworks) at university, and participates in multidisciplinary programs, including the fight against art trafficking [national project POLAR - MRSEI (ANR / ENSP coordination) / European project NETCHER H2020 (European Commission / CNRS (France) coordination)].
Laure Chevalier's critical view come from an artistic learning wich began in childhood with her mother painter and engraver. She practised drawing and painting for 10 years at the Beaux-Arts of the City of Paris (Place des Vosges, courses of Agnes Carré), between 1980 and 1990.
Reading the marks of time on artworks comes from his former activity as an archaeologist, mainly in Greece, between 1995 and 2005, as an associate researcher of the French School of Athens.
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