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Gibbs 16 octobre Caroline 15 octobre Jun,lool,vous avez répété mon commentaire dans un précédent article! Philibert 16 octobre Vous noterez le nombre de voitures en plein coeur de la capitale! Marquise 15 octobre Michèle 15 octobre Clémentine1 15 octobre Severina 15 octobre Merci beaucoup, Agnès, pour votre article, comme toujours très interessant et votre belles photos.
Gibbs 15 octobre Et avec les briques rouges je les haïs! A part cela, il y a beaucoup de briques rouges à Copenhague, sur anciens et bâtiments plus récents. Gibbs 17 octobre Peut-etre,comme le magnifique hotel de ville de Bale en Suisse!
Francky 15 octobre Francine du Canada 15 octobre Merci à Régine et surtout à Agnès pour ces magnifiques photos et ce reportage super intéressant. Merci, Agnès, pour votre reportage si intéressant et les très belles photos…Les toits pointus de tous ces pays du Nord en Allemagne et dans les pays baltes en particulier qui le sont en raison de la neige, me font toujours penser aux contes de Grimm! Yannick 15 octobre Corsica 2 15 octobre Merci Agnès pour ce reportage très intéressant.
Je suis sûre que vous saurez nous trouver une foule de sujets intéressants et que ce Congrès nous laissera des souvenirs inoubliables! Palatine 17 octobre Quentin 15 octobre Très cordialement et en toute sincérité. La rancoeur ne vous va pas, votre histoire de conditions de la femme sous ce sujet est grotesque. Je partage ses photos et ses articles aux passionnés, il y en a. Francine du Canada 16 octobre Quentin 16 octobre Je vous imaginais plus subtile, Francine.
Ne devriez-vous pas être en Espagne pour vous mesurer au castillan? Il en faut pour tous les gouts. Merci Agnès pour tous vos efforts. Artprice rappelle à ses actionnaires et au marché, que dans son rapport financier annuel , page 50 en Facteurs Risques, un paragraphe est dédié à Boursorama. A ce titre, afin de restituer l'intégralité et la cohérence de l'interview, Artprice invite ses actionnaires et le marché à voir l'intégralité du communiqué sur:.
It was first of all an enormous amount of collective work involving incredible art historians. In just 14 years, we bought up almost all the editorial funds in Europe and the USA and now we're working on Asia. You should know that through the Serveur Group that I founded and is Artprice's parent company which specialises in judicial, juridical and scientific databases , we have been on the Internet since and we were therefore able to prepare and identify our key targets when we arrived on the art market in the 90's.
For the past 14 years, we have also had a systematic policy of purchasing manuscripts and catalogues, mainly from to from the world over. We had no choice but to buy this historic knowledge, otherwise we could not have standardised the art market with certainty nor obtained perfect traceability of works of art and correctly allocated them to the artist's biography.
We have gone well beyond the millions of hours of work by historians, research workers and journalists in the art market, who have documented and written on all the works taken from these manuscripts and catalogues, particularly from the 17th century to date.
This is why we now have the largest database of information on the market in the world, which allows us to trace works of art over the centuries, with million images or engravings of works of art from to date, commented by our art historians.
It is not without reason that Artprice enriches its databases from almost 4, auction houses in real time and publishes trends on the Art Market continuously for the main agencies and 6, press titles worldwide.
Every day, without paying a single cent, we are present in the world press with our copyright and our Internet address. What more could you ask in terms of reputation and communication? To get back to how it all started, we went back to the very beginnings of the art market, which was practically born in around ; it was only from that period that artists began to truly break free from commissions from the Princes of the Church and the Realm to finally produce works of art in response to demand.
We can consider that It was at this time that the art market was born, in the economic sense of the word. For the past 14 yearsn we've had experts and dealers working for us worldwide and as soon as they get their hands on manuscripts, they inform us and we buy the manuscripts and catalogues.
We've bought so many that we've more or less achieved a shortage; at the outset we bought them at very high prices and then gradually the pincer technique has come into play and the latest are now bought every year at very reasonable prices. This fund is unique in the world and we open it up, with prior authorisation on our part, to researchers from the world over.
Our work on the Artprice databases is really like mining work, every day we have to go down into the mine, and we've being doing it for the past 15 years. In the years we reached a figure of over a hundred employees, whereas now there are just 45 of us because all the work is now in the databases.
The number of employees has been divided by three and the number of servers has been multiplied by nearly 30 over the past decade. To standardise the art market we had to create the definitive inventory of works of art and the biography of hundreds of thousands of artists from the 4th century B. How do you produce your reference prices since a painting is by its very nature unique?
Take for instance, a work of art identified in , it goes from auction house to auction house over decades. We're therefore certain that it is indeed the same work of art and we know its price and yield year after year. That's why we are the only company in the world to have a perfect econometric method for all works of art. In econometrics, its called the repeated sales method, because we're working on a homogeneous market. Others calculate arithmetic averages, using the method of comparables, but this leads to errors because their studies involve a heterogeneous market.
That's why, in , we bought the famous Swiss company Xylogic for a small fortune, a company of scientists who had created all the algorithms and price indices for the art market since We are the only ones to have, 10 years later, these gigantic databases over terabytes in our own computer rooms, with nearly servers operating on our own fibre optics, which we own. What's very important for Artprice is that we have succeeded in building up the largest collection of annotated manuscripts and catalogues in the world.
This colossal documentary fund has been entered on our expense account income statement using a precautionary principle, something that is very good news for our shareholders who have a balance sheet that does not reveal these assets which are, of course, significant.
We add new data to our databases every day from the world over. We have bought up Anglo-Saxon, Chinese and Dutch databases, without which we could not work, even if we put the best art historians on the development, they could not get the same results. For example, for a Dutch painter called Dick Van, an extremely common name in Holland, it is impossible, without our databases, to be certain that we're talking about the same artist and his works.
Quite simply that we don't have any real competitors because we're the only ones who manage over a million biographies including artists who are not yet listed and million images or engravings of works of art. Even someone who doesn't really like Artprice can but search our databases for any artist who is not yet very well known, or is even totally unknown.
The same goes for a rare work of art that requires authentication. People only see the tip of the iceberg of Artprice, but Artprice is above all an enormous amount of work in the background, I even wonder myself how we've had the strength to do it! Passion, I believe, is the only rational explanation after all these decades….
Is the money raised on the stock market, along with funds from the Serveur group and the Bernard Arnault group behind the success of Artprice acquisitions? Yes, but only in part, because you should know that a cheque book is not the only thing needed to acquire these documentary funds; we're talking about famous Historians and Authors, infamously ill-tempered, who in some cases had received mind-boggling offers, but the financial aspect was only secondary to these people.
We had to persuade them of the importance of our project, as was the case with Frank Van Wilder and Peter Hastings Falk, for example. These databases represent the wealth of Artprice and, as a precautionary measure, here again our balance sheets do not reflect the true value of our assets, which are truly significant.
That is also a source of wealth for our shareholders for the years to come. IRFRS standards do not allow us to give the true value of our company, whence the stock market price which, as if by chance, is much closer to the truth; the Market is very seldom mistaken in over 10 years of continuous listing, as has been the case for Artprice.
Reproduction rights for the work is assured by the specific contract we have signed with the ADAGP, the most representative company in the world, which receives and distributes royalties in over 43 countries. This agreement was a real precursor in the digital economy and is regularly used as an example by the various different Ministries of Culture in Europe and particularly in France. There again, Artprice has taken the lead over any possible outsiders. Everything is protected under intellectual property laws.
Amongst other things I'm trained as a lawyer in literary and artistic property and in the 90's I was also the instigator of a lobby that aimed at protecting databases in Europe, which then became the "Sui Generis" law, the European law equivalent to what is known in the USA as software patents.
To put it simply, anyone, even someone willing to invest several hundreds of millions of euros, would be prosecuted and forbidden from building up databases or an Artprice Standardised Marketplace, and sentenced for counterfeit and fined in proportion to the investments made, in addition to a ban on using their databases.
Therefore a possible competitor would need to have not only a very large amount of funds available, he would also have to be able to reinvent ergonomics and a structure entirely different from Artprice's. By analogy, and simplifying the example to the extreme, you could say that we have protected the fact that a car has round wheels; an adversary would have to dream up a vehicle on tracks or on a rail, which as you can imagine is an extremely big obstacle to overcome.
Between and , we spent 2 years calling and visiting 3, Auction Houses and 7, experts. This marketing and engineering study was extremely expensive in terms of world travel and staff expenses.
The Auction House world was devoid of any databases; at best Auctioneers had available Word or Excel files. Still today some of the world's greatest Auction Houses do not have any computerised databases.
How is it possible to be so behind, in terms of computerisation and the Internet in ? That being said, an old IT rule says that the greater the power or knowledge of a profession or social body, the more it disdains or ignores IT until the day it is forced to give in to the its customers' demands. In this case, Artprice has arrived in the nick of time. Our professional clients are highly captive and return to us over the years.
That's another proof of our professionalism to our shareholders. Using our intranet an auction house can produce its paper and Internet catalogue very quickly, and at the same time promote on the standardised Artprice market place its future sales with just a click of the mouse. It can, for example, electronically promote a contemporary sale including 63 different artists to our 1.
This is the "killer application" every Auction House has dreamed of, whether large or small, even those who have spent fortunes in advertising and marketing campaigns. Why have you chosen the Abode of Chaos as Artprice's headquarters, is that provocation or strategy? The world of the Abode of Chaos is inseparable from the history of Artprice and of the Serveur Group, a historic Internet pioneer since , the two of which have their headquarters in the heart of the Abode of Chaos.
It is almost the same age as Artprice, give or take 3 years. Today, with over 1, reports in the written and audiovisual press in 72 countries in just 12 years, it has become a "Factory", an essential Museum, unique in the world, according to the international art press.
It's an open-air, free-entry museum, presenting over 3, works, welcoming , visitors every year. Every time the world art press talks about the Abode of Chaos, Artprice is of course mentioned. You can't imagine the number of visitors to my Museum, now number two in Lyon in terms of the number of visitors, who are Artprice clients or shareholders. Every year we hold our annual general meeting at the Abode of Chaos and all we've been given are encouragements for the past 10 years.
In terms of clients, and particularly world art galleries, they are extremely aware of working with Artprice, whose founder has been registered for over 25 years with rights holder companies as a sculptor. Take a look at my entry in Who's Who and you'll understand. I have lots of work on show worldwide. You should be aware that the art world is highly sensitive and, in the 90's certain purists saw Artprice, with its indices, prices and statistics, as a group that did not understand the sensitivity of their world, not to mention the fact that we were listed on the Stock Market.
But with the Abode of Chaos these same purists have become our most loyal customers. That's the real answer to your question! Degree 2 would be that the Auction House tells you that it also has clients who buy only Arman sculptures, in the knowledge that he is also a painter and a photographer. But the ultimate offer, the one that only Artprice can offer to date, is degree 3 where one can offer the 4, clients in the world who are looking for Arman sculptures on the highly specific theme of "organic waste".
Within this context, holding this final information is the absolute Holy Grail for Auction Houses or Dealers. Because they can be certain that bids will reach a maximum. This is the oldest method of valuing an Auction House. The great value of Artprice is that, for a sale, we can find collectors throughout the world who, by their presence, will double or even triple the selling price of a work of art.
In a catalogued sale for a well-known artist, new collectors from the other side of the world can double the sale and, in this respect, Artprice is the only company to hold details of these famous collectors, in different countries. They are all systematically clients of Artprice. Even our fiercest critics use our data. We have 1,, clients, you can consider that value is made according to the level of research of clients.
The more clients who are looking for something specific we have, the greater the value of these clients. We are certain of offering the narrowest search criteria. The narrower the search, the more the client is in a position to increase prices at auction and therefore this client is all the more interesting for the Auction House. We have an extremely complete client file with over 18 billion logs, respecting the demands of the CNIL and European and American authorities, which enables us to know exactly what our clients own or are looking for.
Putting things into perspective I really believe that this is currently the best method by which to valorise an Auction House because it is years old and is still up to date, tried and tested thousands of time over, worldwide. We are very competitive because intermediation is at We will be better than a bank for a gallery.
We will take 4. Similarly, commission will be 4. A hostile takeover bid is impossible due to the fact that the Serveur Group controls the Artprice capital, on the other hand a friendly takeover bid, why not, if it is logical in terms of the industry, notably with an auction house listed on the Stock Market, we would think about it.
To better understand Artprice, its reference document or annual report should be consulted, those are real gold mines in terms of sensitive information and are really up to date and detailed. No, that's stated clearly in the report, because everything is protected under intellectual property law. We only have, within a different perimeter, the company Artnet which achieves in volume in one year on the stock market, the same as we achieve in a week.
Artnet is not in the same business as we are, it is listed only on a non-regulated stock market and its accounts are not audited. We see it as a luxury host site which does not own its own production tool. Also, it has not always respected copyright law in a certain number of countries.
In addition it's had its brand Artnet snatched due to lack of vigilance by over 18 different depositors in 21 countries, some of which are major countries…. Finally, its rates are outrageous, with a limited number of requests per month, something which was done on the Internet at the beginning of the 90's. We consider that, in order to be world leader, you have to implement an extremely aggressive pricing policy, like Dell, which I see as a model and which has thrashed the world of PCs and Servers.
Your question contains the answer, what is punished by the competition authorities is the abuse, not the dominant position, we haven't refused any sale, our prices reflect the reality of our costs and investments and we have no selective sales policy, but above all we are the original authors of all the products and services offered by Artprice, offering a new and innovative approach.
Some people have attempted to make this claim, but their cases have been systematically dismissed. To take the market fairly but aggressively, such low prices would be necessary that a hypothetical competitor would immediately be operating at a loss since they would not have done like us and paid for all the investments over a 14 year period.
We were asked three times to buy out Artnet, but it was of no interest to us, at the risk of being subject to a large number of lawsuits. As for the brand, in view of the fact that it is not registered worldwide we would have been immediately caught up in intellectual property conflicts with the other owners of Artnet, who are in their own rights.
Yes, of course, such as for example Artmarket. We have 1, DNS which are generics around the Art market in 9 languages. We registered the entire semantic at the beginning of the 90's, in order to address the art market. Some of them are worth their weight in gold today because there are generics in the purest state, such as Artmarket, but we refuse to sell them.
Yes, we get new clients every day and we realise that the average age of our customers is increasing because we have people who discover the Internet, to such an extent that we have to help them in their navigation on the site, and on The Internet in general.
We have a policy of going to seek out new clients, wherever they are, and accompanying them on Artprice. This clientele is called, amongst other things the "silver surfers", as defined by the giants in marketing as being surfers with silver grey hair, in other words, Seniors over the age of The Art Market has indeed increased worldwide from , collectors just after the war to a current total of almost million art-lovers, collectors and professionals, whose favourite hunting grounds are the Internet with the market going virtual, notably with Artprice's normalised market place.
And the Asian continent has created an explosion in the Art Market, in terms of market players. Unlike the vast majority of listed companies, we do not have a single cent in debt. No bank overdraft, short, medium or long term loans, no financial instruments to reimburse such as BSA and other derivative products… That's what very often amazes the AMF!!
We also have a good cash flow and negative working capital requirements. I should point out that I am deeply hostile to any increases in capital which not only dilute shareholders but also, and this is often forgotten, prevent a listed company from seeing its price rising very rapidly. Proof is that Artprice has about 4 million shares in circulation. According to our latest TPI enquiry and estimates, we have increased from 18, shareholders to a possible estimate of around 27, shareholders.
This is a proof of security because they know almost everything about Artprice, sometimes they're the ones who identify targets for us to buy or give us ideas for improving our databases.
For them the notion of crossing a threshold is not one they understand, they enter through a multitude of accounts, which enables them to remain under the threshold limit. I've never seen that before and it's certain that they are not buying for French customers.
How long do you think it will be before the legislative course is completed for the Law on the liberation of auction sales? It's a question of weeks, at most. It should be pointed out that in less than 45 years France has moved from 1st to 4th place in the world, with China now in first place, followed by the USA in second place and the United Kingdom in third. Also, the Drouot scandal has weighed very heavily.
Every week we come across consequences of that business, investigations have only just begun. We have exasperated the Europeans with adaptation of this directive into domestic law and there is enormous pressure on France. It's an affair of the State, with a risk of colossal fines being imposed by the European Court of Justice. Moreover, the French Art Market Authority, the CVV, considers that it would be suicidal for France to go for a minimal reform and after the injunctions from Brussels it is highly likely that the matter will go before the ECJ very soon.
We were the first to draft the code of law, the Code des Ventes Volontaires et Judiciaires in , which has now become the reference amongst French auctioneers. It's the only book pages which refers to the first reform of and its non-application. That reform of was a gigantic farce because Auctioneers have remained with their monopoly of with, amongst other things, the obligation of requesting an authorisation for each sale.
In cases where this was given just a few days or even a few hours before the sale it proved a real obstacle to free movement of products and services in Europe, particularly for auctions of works of art on the Internet. We have all the factors for success. The process has been definitely endorsed. The train of History is on its way and we are in that train, which nothing can stop now. We only had to be very patient and determined against this monopoly which has lasted almost years, by following the way of the legislative cross for 10 years.
Because the cost of going would have been greater, not to mention other incidences such as communicating in a foreign language, a new stock market, physical moving of all the system, the staff, etc. That's a very serious subject. It's the UMP parliamentary block that has made this proposal.
Their analysis is to set up an ISF that targets only indisputable latent capital gains. I don't necessarily agree with it, I do not believe that it is the right solution but parliamentarians have understood that Artprice enables them to say to collectors that there is an exact gain for the works of art they own.
On the other hand, clearly this will be good for the Artprice marketplace because people can benefit from remaining anonymous, with Artprice protecting the identities of both buyer and seller. This is not possible in actual auction sales rooms. We noticed that the number of creations of virtual portfolios by our clients exploded on the day the announcement was made and during the ensuing hours, to simulate the price of their collection. Maybe in September, it's up to the Euronext scientific committee to decide, but clearly we exceed the entry criteria.
Yes of course we have. We have carried out beta tests abroad and everything is operational. Auction Houses are already linked up to our Intranet for catalogues. As soon as the law is passed our best clients will be the Auctioneers.
They say themselves "we can only do it with Artprice". They let the Internet train pass them by at the end of the 90's and then again in and now it's too late and too expensive.
The show has already sold out. In order to succeed we have acquired lots of Chinese databases, otherwise it would have been impossible. We have had the extremely diplomatic help of the Chinese authorities; we had to have it because Chinese Auction Houses are partially controlled by the government.
The cultural affairs department in China helped us to show that China was first in the world art market. We have Chinese staff in Lyon, it took us 4 years between the moment we decided to go for the Chinese market and the moment when we became operational.
Did you have any difficulties in becoming world leader? You're sometimes criticised for your procedural attitude? We've had to face law suits in 14 years in several countries, particularly brought by distributors of price list books which we had bought from the publishing houses and who wanted their share on The Internet, we have also had disputes with the numerous counterfeiters of Artprice, for whom we have zero tolerance.
We have won of these cases, including all the main ones. Such as those against the 5 French Auction Houses, some of which are with Drouot actually, they all refrained from going to the Appeal Court, except Camard whom we are prosecuting.
The cases we lost were against third parties who had no impact on the life of the company, its accounts or its objectives. Christie's World is one of our greatest victories. Before that I think we will have enriched our shareholders quite considerably through the share price.
First we will increase equity in order to finance the servers and other very expensive equipment we require to enable us to develop worldwide with maximum security. Remember that we are the only ones to own our own machine rooms. We are considered as Internet pioneers in France. The wealth created for our shareholders will be such in terms of the share price that they can't have share and dividend to begin with!
Particularly since we have never increased our capital. What will be the impact of the change of status after the law on the annual turnover figure? We have kept all the commitments included in our introductory prospectus.
We are even well above the commitments made in the prospectus. With regard to our commitments, which at the time were very ambitious on the introductory prospectus, we have met them all, well beyond the prospectus actually, coming through the NASDAQ crisis, the terrorist attacks on September 11, , the war in Iraq and the big financial crisis which began in and which is far from over.
With this decade, which has been the most catastrophic in the past two centuries, I know of only very few companies listed on the regulated stock market which have come out alive, without increasing their capital and which, during this same period, have acquired an undisputed world-leader position.
Back Paris, June 1, Artprice: Artprice, par la voix de son fondateur et président, thierry Ehrmann, ne peut que constater la concomitance plus que troublante de deux événements majeurs à l'Assemblée Nationale le même jour: Il est évident que le Marché de l'Art longtemps considéré comme une valeur de placement ne générant pas de plus-values rapides est depuis 30 ans exempté d'ISF. A ce titre, le Marché de l'Art attire naturellement l'attention de groupes parlementaires soucieux d'aller chercher les plus-values en période de crise, avec les outils de cotes et indices économétriques d'Artprice permettant le calcul de l'assiette fiscale.
Il n'y a certes pas lieu de se réjouir de voir le Marché de l'Art français millions d'euros déjà relégué au quatrième rang, laminé par la Chine qui est devenu numéro un mondial.
On ne peut que conclure que nos députés considèrent désormais qu'avec la réforme des ventes aux enchères, notamment par voie électronique, entérinée avec la Directive Services, le Marché de l'Art serait assimilable aux valeurs mobilières de placement.
Il est regrettable que ce nouvel impôt valide la maturité extraordinaire du Marché de l'Art sans prendre en compte la spécificité française. Le Marché de l'Art est effectivement passé dans le monde de collectionneurs de l'après-guerre à désormais plus de millions d'amateurs, collectionneurs et professionnels dont le terrain de chasse de prédilection est désormais l'Internet avec la dématérialisation notamment par la Place de Marché Normalisée d'Artprice qui fait l'objet de protection au titre de la propriété intellectuelle.
Selon thierry Ehrmann, cette mesure contestable sur l'ISF mériterait une pédagogie et surtout un véritable accompagnement des pouvoirs publics à la jeune création française pour faire de la France à nouveau une place de marché de l'Art compétitive. De même, il serait nécessaire que les parlementaires comprennent que l'âge moyen des collectionneurs en France est passé en moins de 20 ans de 55 ans à 35 ans ; et que la construction de leur patrimoine n'obéit plus à un mode pyramidal où la collection d'art était l'aboutissement d'une réussite sociale mais est désormais un art de vivre où leurs collections précèdent les acquisitions de l'ancienne génération.
Paris, May 11, Artprice T1 Pour autant, cette très forte croissance du flux d'oeuvres d'art et de nouveaux membres n'est pas génératrice de charges nouvelles et n'a pas impacté le résultat ni celui de Selon thierry Ehrmann, Fondateur et Président d'Artprice, cette stratégie de gratuité intégrale mise en place fin uniquement pour sa Place de Marché Normalisée était nécessaire à Artprice pour être un acteur mondial incontournable de la libéralisation des ventes aux enchères d'Art, par voie électronique.
En , Artprice confirme avoir constaté un volume d'environ 6,3 milliards d'euros d'oeuvres d'art avec un taux de ventes estimé à environ, de l'ordre d'un tiers sur lesquelles Artprice n'est pas encore commissionnée. L'histoire de la dématérialisation du Marché de l'art est en train de s'écrire avec la plume du législateur sous la dictée de la Directive Européenne selon les propos des historiens, sociologues et des professionnels du Marché de l'Art.
Il faut préciser que seul Artprice, détient et protège, au titre de la propriété intellectuelle, le process unique au monde de dématérialisation du Marché de l'Art pour rejoindre la Place de Marché Normalisée et s'affranchir véritablement de l'ancien système des "salles des ventes physiques" que l'on peut aisément comparer avec les corbeilles des bourses et l'arrivée des ECN Electronic Communication Network qui ont littéralement laminé les corbeilles de l'ensemble des places boursières mondiales, en effondrant les coûts d'intermédiation.
Artprice est prêt, dès la promulgation de la loi, à répondre à la demande de plus de 3 Maisons de ventes et près de 7 experts partenaires qui ont déjà manifesté de manière concrète le besoin impératif de rejoindre la Place de Marché Normalisée d'Artprice pour maintenir leurs rangs dans le Marché de l'Art mondial et passer le cap vital de la dématérialisation des ventes aux enchères d'Art où Internet, et plus généralement, la révolution du numérique, ont littéralement broyé l'économie des salles des ventes physiques.
Les Maisons de Vente s'affranchiront ainsi des coûts devenus inutiles liés aux salles des ventes physiques, leur permettant d'économiser sur leurs coûts immobiliers. Ce que trouvent acheteurs et vendeurs sur la Place de Marché Normalisée d'Artprice.
L'ensemble des process industriels d'Artprice formant ses banques de données est déposé et protégé, entre autres, par l'A. Aboutissement de la Directive Services, passage en deuxième lecture à l'Assemblée Nationale. Il convient de rappeler que la France aurait dû légalement transposer cette Directive en droit interne avant le 29 décembre La Commission Européenne a estimé que le retard pris dans la transposition a engendré des coûts importants pour les entreprises européennes et que la France avait donc jusqu'au 24 août pour répondre à la Commission sous peine de lourdes sanctions.
Il peut donc être considéré qu'au terme d'un long périple législatif, la France se plie enfin à l'injonction de la Commission Européenne en mettant désormais très rapidement en application cette Directive portant sur la libéralisation des ventes volontaires de meubles aux enchères publiques, notamment par voie électronique, qui, dans sa dernière version, satisfait pleinement Artprice.
De nouvelles applications dédiées sont en préparation avec bien entendu, les enchères en ligne. Le 13 avril , Artprice, par ses départements Marketing et Informatique, a lancé un abonnement dédié spécifiquement aux Smartphones incluant les différents O. Son concurrent Bourse Direct est également intéressant. Je vous invite à consulter le comparatif des courtiers en ligne que nous avons réalisé et qui pourrait vous aider à faire votre choix: Bonjour, La solution la plus simple et la moins onéreuse serait de trouver une personne dans votre entourage par exemple parlant anglais et qui passerait les ordres de vente pour vous.
Bien à vous, Guillaume. Merci pour votre réponse mais si vous ne savez pas, je me renseignerai auprès de ce courtier. Bonjour Patrick, Merci pour votre message. Ce rapport reprend toutes les informations mentionnées sur un Imprimé Fiscal Unique, ce qui vous aidera à remplir votre IFU. Votre adresse de messagerie ne sera pas publiée. Ainsi, vous aurez accès aux produits suivants: Actions Produits à effet de levier warrants, turbos, certificats, etc.
Utilisation de la plateforme Les profils Les services proposés par la plateforme ne seront pas les mêmes selon votre profil investisseur… en effet, il existe 4 profils, du plus simple et sécurisé au plus complexe et risqué: Passer un ordre simplement, en quelques clics: