It’s always about the first impression when you come to an auction. You feel the buzz in the air, the hum of excitement that says, “This is going to be good.” The Sotheby’s auction on New Bond Street was exactly that—an event that promised something unique and unforgettable. I walked in, and right away, I knew this was the one I had to win. An opportunity not to be missed. But here’s the thing about auctions: there’s no guarantee you’ll walk out with what you want. It’s a high-stakes game, with plenty of competition, and a lot of elbows.
As I strolled through the gallery, the first thing that caught my eye was a collection of paintings by Jacques Majorelle. Ah, Majorelle! If you’ve ever had the pleasure of visiting Marrakesh, his art is like a fast-track ticket back to the heart of Morocco. I was instantly captivated by his “Market at Marrakesh” and “Kasbah of Tasgah in the Atlas.” These pieces took me hostage. It’s like Marrakesh leaped off the canvas, the air full of exotic spices and the glow of the Moroccan sun. His “Market at Marrakesh” and “Kasbah of Tasgah in the Atlas” immediately drew me in, taking me back to my recent trip to Marrakesh. I felt that same rush of energy, the vivid hues, and the sense of adventure that comes from exploring a new place. Marrakesh has a way of weaving its magic into every fiber of your being. There’s something incredibly unique about the Moroccan touch, the culture, the overall experience. I feel it when I think back to the markets, the colours, and especially the food—oh, the food!.. If I start talking about Moroccan food, we’ll be here all day.
I could wax poetic about the almond pastries, the delicate baklava, and those syrupy, honey-drenched sweets that leave you in a sugar-induced haze. Seriously, if you get me started, you might find me at Sotheby’s auction with a platter of Moroccan desserts tucked under my arm, ready to sweeten any bidding war. Next thing you know, you’ll be halfway to Marrakesh craving tagine and mint tea, and I’ve forgotten all about the art auction I was supposed to tell you about.
But let’s refocus—before I grab a pastry and forget why I’m even here. Majorelle’s work has a way of captivating you with its intense colours and unique perspectives. I could almost feel the warmth and hear the distant calls of market vendors. It was like I’d been transported back to those bustling markets where you’re dodging donkeys, bargaining over carpets, and, of course, sampling every sweet you can find. It’s easy to get lost in the sights, sounds, and, yes, tastes. At this point, I wouldn’t be surprised if Sotheby’s started serving Moroccan mint tea at their auctions—it might just make the bidding a bit more orientalised. Or at least keep me from raiding the nearest Moroccan bakery on the way home. By the way, the savouries and sweets were indeed brought to the public in beautiful flower boxes—so it turns out, I wasn’t even original with the idea of carrying a picnic basket to Sotheby’s. I guess my inner food critic was just keeping up with the crowd!
Majorelle’s work has a way of captivating you with its intense colours and unique perspectives. I could almost feel the warmth and hear the distant calls of market vendors. It was as if I’d been transported to those bustling markets, and I never wanted to leave. I wasn’t the only one mesmerized by Majorelle’s work. The crowd gathered around his paintings like bees to honey, whispering and pointing, as if afraid to break the spell. The rich hues and intricate details were captivating, drawing everyone in. It’s no wonder Yves Saint Laurent and Pierre Bergé were fans of Majorelle and bought the Jardin Majorelle in Marrakesh to save it from the clutches of hotel developers.
The “Majorelle” brand (if I may call it that!) in his paintings features a distinct blend of Art Deco and Moorish influences that teleports you to a dreamlike world. Yves Saint Laurent described it as a “source of endless inspiration,” and I could see why. The vibrant cobalt blue walls, the exotic plants from all over the world, the sound of trickling water—it was a sanctuary, a place that breathed life into everything around it…
But back to the auction. I couldn’t help but notice the stunning variety of art on display. There was Jean-Baptiste Henri-Durand Brager’s “View of the Bosphorus,” which was as calm as a breeze over the sea, and Ernst Moster’s “Nile at Aswan,” evoking ancient Egyptian history with a touch of serenity. Francesco Peluso’s “The Simoun” had this raw, untamed energy, while Rudolf Ernst’s “Perfume Makers” was all soft light and delicate beauty. Each piece had its own story to tell, inviting you to step into a different world.It felt like you were at a holiday destinations fair, with all those beautiful brush strokes of sunshine gold and sky blue, offering a chance to choose your next getaway.
Then there was Servan Baran’s electric blue masterpiece, which practically lit up the room. This painting was bold and audacious, demanding attention. It was clear this one would be a hit among the bidders, and I could feel the energy in the room shift as people started to strategize. You know the kind of energy—where you can almost hear the calculator in everyone’s head, ticking away as they figure out just how high they’re willing to go.
One of the real stars of the oriental art auction was a young artist, Hayv Kahraman, whose painting “Bazaar” graced the auction’s invitation and billboards. Kahraman’s art is a masterful blend of traditional Middle Eastern aesthetics with a modern twist. The bold colors, the intricate patterns—it was like a visual feast, a vibrant playground of culture and history. The “Bazaar” painting was the kind of piece you could get lost in, with every detail leading to another. It was no surprise that this painting became the talk of the auction, with people eagerly discussing its beauty and what it might sell for.
This auction wasn’t just about acquiring art—it was about experiencing the beauty and diversity of oriental art. From Morocco’s vibrant markets to the serene waters of the Bosphorus, every painting had a story to tell, inviting us to explore different cultures and perspectives. I knew I’d be back for more, eager to see what new adventures awaited in the world of art.
I didn’t walk out with a Majorelle under my arm—not that I was expecting to, mind you. The brunch at Sotheby’s is just the warm-up for the main event, which takes place a day or two later. Bidding for a Majorelle is a serious business, and it’s not just about the price tag. The Majorelle I visited in Marrakesh can’t be bought; it’s more of a feeling, a sense of wonder that you carry with you long after you leave. It’s not for sale, and that’s what makes it so special.
But that’s the beauty of art. It can transport us to places we’ve been, or places we’ve only dreamt of. It’s a reminder that sometimes, just sometimes, you can hold onto a dream, even if it’s just for a moment. As I left Sotheby’s, I was grateful for that reminder. Because while the art itself might find new homes, the feelings and memories it evokes are ours to keep forever.
It reminds me of an oriental proverb: “The journey is the reward.” And this auction felt like an all-access pass to a world of art, culture, and adventure. As I walked out into the London night, I knew that, just like a good painting, this wouldn’t be my last look at the auction scene. With a wink and a nod, it was clear—the best journeys are the ones you never really leave behind.
By: Dr Olga Roh
Photos by Dr Olga Roh