An Article by M. J. (1044 words, 6 min. read)
Three Auctions, One Market
At a time when Lebanon’s artistic calendar is relatively quiet and few exhibitions of major institutional weight are drawing collectors’ attention, the country’s auction houses have once again become important barometers of activity.
This week, three sales in particular, FA Auction, Nada Boulos Auction, and Layer of Art, offer distinct visions of the market while revealing broader trends about taste, confidence, and collecting habits. Other auction activity exists in parallel, yet these three catalogues in particular stand out through the consistency of their selection, their visibility among collectors, and their contribution to the ongoing conversation surrounding Lebanese art.
Their timing also speaks to the resilience of Lebanon’s cultural ecosystem, which continues to generate momentum despite economic and political uncertainty.
FA Auction: The Strongest Selection
If one catalogue stands out this week for the overall quality of its selection, it is FA Auction (fa-auctions.com).
The sale brings together a particularly strong group of modern and contemporary works, ranging from a remarkable nude by Hussein Madi to compelling examples by Paul Guiragossian, Huguette Caland, Omar Onsi, Habib Srour, Yvette Achkar, Moustafa Farroukh, César Gemayel, and Chawki Chamoun among other notable artists.
Of particular interest are works by Farid Aouad and Amine El Bacha, both names that have appeared less frequently in local auctions than many of their contemporaries.
The catalogue also demonstrates a generally disciplined approach to estimates. One example is the pricing of Silwan Ibrahim, where estimates appear more aligned with recent market realities than other competing sales. Such accuracy is important because estimates influence bidder confidence and ultimately shape perceptions of value.
The sale additionally also features works by Aline Fatal and Rami Sabour, two younger artists whose growing visibility reflects a market increasingly willing to look beyond established auction favorites.
Another intelligent decision concerns timing. Rather than spreading bidding across working days, the auction opens on Saturday and closes on Sunday, allowing collectors more time to engage with the catalogue and participate actively.
Nada Boulos: Education and Continuity
The latest Nada Boulos sale (nadaboulosauction.com) continues the house’s established presence within the Lebanese market.
Among the highlights are a strong work by Hussein Baalbaki, a notable piece by Jean Khalifé, and a beautiful painting by Chafic Abboud.
One noticeable characteristic of the catalogue is the reappearance of works that have circulated through previous auctions. This is not unusual in mature markets, where artworks often move repeatedly between collections. However, it inevitably raises questions about pricing evolution, collector appetite, and the long-term trajectory of certain artists.
Equally important is the educational dimension of the sale. Beyond bidding itself, the house continues to invest in lectures and public programming, helping collectors better understand artists, provenance, and market dynamics. Such initiatives contribute to the development of a healthier collecting culture and a more informed collector base.
Layer of Art: The Ambition of a Newcomer
Still a newcomer, Layer of Art (layerofart.com) returns with only its second sale after a remarkably successful debut that reportedly achieved more than 80 percent sell-through. The catalogue demonstrates careful research and a willingness to move beyond familiar names, introducing artists less frequently encountered in auction settings such as Ali Al Housseiny who had his Lebanese Debut at the Mark Hachem Gallery last season.
Among the headline lots is a Nabil Nahas, estimated around $95,000. While not necessarily among the strongest examples of the artist’s career, it nevertheless reflects the enduring demand for one of Lebanon’s most internationally established figures. An important work by Aref El Rayess also reinforces the catalogue’s modernist credentials.
The inclusion of Syrian painter Marwan Kassab Bachi is particularly noteworthy. Widely recognized internationally and represented in major museum collections, including the Tate, Kassab Bachi remains one of the most significant Arab painters of the twentieth century. His presence adds an international dimension to the sale.
The catalogue also benefits from attractively low starting bids on numerous lots, encouraging participation from younger collectors and first-time buyers. Even artists frequently seen at auction, such as Jamil Molaeb, appear through carefully chosen works rather than excessive repetition.
Reading the Market
When several auction catalogues are examined together, broader patterns emerge.
The recurring presence of Jean Khalifé across multiple platforms suggests sustained collector interest. Likewise, Paul Guiragossian continues to demonstrate remarkable market strength. Recent results elsewhere, including strong prices achieved for works on paper, confirm that demand remains robust.
Other artists present a more complex picture. Syrian painter Sabhan Adam, for example, continues to appear regularly in catalogues, yet the enthusiasm surrounding his market seems less intense than it was several years ago. Presence does not always translate into demand.
These shifts remind us that auctions function as indicators rather than definitive judgments. They reveal trends, confidence levels, and collector behavior, but they do not determine artistic value. A weak auction result can temporarily affect perception, while a strong result can generate momentum that extends far beyond the sale room.
The Responsibility of Auctions
Auctions play an increasingly influential role in Lebanon’s art ecosystem. With that influence comes responsibility.
Estimate levels, catalogue quality, provenance research, and authentication procedures all matter. Provenance and authenticity remain fundamental, not only for protecting buyers but also for preserving confidence in the market as a whole.
Curation matters as well. Flooding the market with numerous works by the same artist can weaken demand rather than strengthen it. Collectors respond best to selectivity, quality, and context. The presentation of works is therefore almost as important as the works themselves. Cases in which large quantities of works by a single artist are released simultaneously can sometimes distort perceptions of value and place unnecessary pressure on prices. The market remembers both successes and miscalculations.
In the end, these three sales offer more than opportunities to buy art. Together they provide a snapshot of a market that remains active, evolving, and surprisingly resilient. In a country where uncertainty often dominates daily life, the continued energy surrounding auctions demonstrates that collectors, artists, and institutions remain committed to keeping Lebanon’s artistic conversation alive. At a moment when major exhibitions are relatively scarce, auctions have become temporary meeting points where the state of the market, the visibility of artists, and the appetite of collectors can all be observed in real time.
