Until then it was the 1992 law that applied

It is considered a masterpiece of African art. This wooden statue of the 10th or 11th century, native of Mali, as imposed by its size, two metres, and its beauty without age. Founder, and androgynous figure whose experts do not know whether a God or a King, it is one of the centrepieces of the Quai Branly Museum, inaugurated tomorrow. This statue djenneké-sonninké has joined the collection in 2004, thanks to AXA, who acquired him 4 million euros from an art dealer, in the face of an American buyer.

Since its launch in 1998, at the initiative of Jacques Chirac, this museum dedicated to the arts and civilization of Africa, Asia, Oceania and the Americas has implemented a policy of acquisitions. What may come as a surprise because his fund is made up of reserves of the Museum of man and the Arts of Africa, or some 300,000 pieces, including some never exposed. But, argues Germain Viatte, Scientific Advisor: "A museum that enriches not decays." There was also need balance that we are in favour of the English-speaking Africa, North America and maritime Asia. We want to exceed the post-colonial profile of these collections and provide a broader comparative of crop image. "The subject is sensitive, whereas discussion of colonialism and slavery are closed. "These are objects"top skin", who do appeal to emotion and refer to our diverse population", said his side Jean-Pierre Mohnen, Director of collections.

Stop the "hemorrhage".

Before its opening, the Quai Branly disposed of EUR 22.86 million to complete its fund. Result: 8,000 objects were added to the collection, half purchased, the other from donations or bequests. "Previously, the museums were forced to either have a purchasing policy balanced between expensive parts and others less, but with a scientific value, is to put the package on a work." "Today, it can do both," welcomed Germain Viatte.

It is the Act of 2002, extended in 2003 to the sponsorship of companies, which has turned the. Through a new tax system, the means for the acquisition of 34 national museums have increased. What partly fill their American competitors behind. Now, for the purchase of a national treasure, object of a refusal of exit from the territory, as the cultural national heritage interest, even located abroad, the companies are entitled to a reduction in corporate tax. It is equal to 90 of the price paid and capped at 50 of the tax due. Provided that the work to join a public collection. Since its entry into force, this measure has allowed triple museums credits: EUR 46.6 million in 2004, of which 57 made by the companies, a stable sum in 2005, up from 15 million in 2003. Major result, 16 works have joined Orsay, Rodin Museum or the national Museum of Asian arts Guimet. "We have been able to spend EUR 20 million in two operations, the purchase of a statue of Houdon,"La Vestale", and the portrait of the duc d ' Orléans painted by Ingres, funded both by AXA for the Louvre, which would have been impossible with only the State credits", insists Francine Mariani-Ducray, Director of the Museum of France.

Until then, it was the 1992 law that applied. It required the grant of an export certificate for cultural objects of some value present in the territory for more than fifty years. For a denial of exit by the State, after the Commission of national treasures, it had thirty months to find the money for their purchase. Lack of means, the France was able to prevent major works from abroad. "A real haemorrhage", according to the conservatives. Between 1993 and 2000, note a report of the General Inspection of Finance (IGF), 50 of Poussin, Rubens, Vlaminck, Monet... spent the borders. The ineffectiveness of the system pushed the IGF to propose tax relief Act of 2002. "This development helped to restore some balance in our trade balance, because the France was exporting NET cultural property", takes Francine Mariani Ducray. The system bear fruit: most selected goods are now in museums. "These prohibitions of output are 10 to 12 works annually on nearly 9,000 requests for export certificates, said Edmond Honorat, State Councillor and Chairman of the Advisory Commission of national treasures." Their price, defined by experts, is the international market.

Highly selective purchasing strategy

At public sales, the State may also exercise its right of first refusal, once hammer collapsed. "The big houses like Christie's or Sotheby's ask for an authorization the most upstream as possible and are forced to specify in their catalogue such and such table is waiting for a certificate of release", details Edmond Honorat.

If national museums are no longer simple extras on the market, they are very selective. Because collections were a feature: they are inalienable, cannot, therefore, to resell them as do U.S. museums. Also, each institution sets up a procurement strategy, strengths and weaknesses. In this area, 4 public institutions the Louvre,

Orsay, Versailles and the musée Guimet manage their own acquisitions since 2004 on a close model that initiated by the national Museum of modern art (read below). However, beyond 100,000 euros, the Direction of the national museums has his say.

The richness of the recommendations

The Louvre has disposed of EUR 35 million in 2005, against 9 to 13 million before reform. An increase related to its record attendance in 2005, with 7.55 million visitors, because 20 of box office revenues are devoted to purchases (6.9 million), in addition to the contribution of the Amis du Louvre and the Heritage Fund. But the sponsorship is at the origin of "a considerable increase of its means of action". In four years, 10 masterpieces have earned their place in this noble palace, paid by companies such as AXA, Carrefour, AGF or such Lusis and PGA Holding SMEs. From end of April, you can discover a set of panels painted by Prud'hon (1758-1823), considered a masterpiece of interior decoration and it was thought lost. It was purchased by the Eiffage group to a New York gallery. "Friends of the Louvre first proposed me an adornment of jewelry." I declined, it was not in accord with our image, said Jean-François Roverato, its CEO. This all, net of tax, cost US 350,000 euros, while our profit reaches 300 million. It is a way of saying thank you to the Republic, while our group conducted very beautiful things for her. "Return on investment: impact of image and a right of entry to the Museum for employees.

The patrons is a full-time job. The team of the Louvre is supported by the Mission mécénat, created in 2004 within the Ministry of Culture and particularly responsible to advise on the tax device SMEs as individuals. An agreement was signed with the Assembly of Chambers of commerce and the Higher Council of the notaries. These new ways fuel speculation on the art market "No, said Etienne Bréton, an expert." The portrait of the duc d ' Orléans would be sold to two or three times more expensive abroad. French museums remain second largest buyers in the world, but far behind the Americans.

Individuals are also a significant source of enrichment for museums, with the recommendations. This system allows to pay its taxes, including on the fortune or the rights of succession, as works of art. Since its establishment in 1968, this device, which is envied us, did enter the equivalent of 750 million euros of works in the collections. "A small Louvre", according to an expert, with, among the most famous recommendations, those of the heirs of Matisse, Chagall or Picasso (read below). "We are very attentive, because this represents a huge loss of income to the State." The final decision is taken by Bercy, said Jean-Pierre Changeux, President of the commission of the recommendations. This system has very different effects from one year to another, because it is linked to the lives of families. "Record in 1979, with a value estimated at EUR 128 million, then in 2002 with 53.5 million. Primary beneficiary, the Museum of modern art, the Pompidou Centre. "Masterpieces of modern art, Matisse and Braque, many still in private hands, although it is rare for paintings of the 17th or 18th." "Even if we had in giving a beautiful Fragonard, now in a Museum in region", takes over Jean-Pierre Changeux.

The good star in le Havre

But the generosity of donors is also, input non-negligible. The Guimet Museum received in 1990 the rich collection of Jean and Krishnâ Riboud, nearly 4,000 pieces of textiles from Asia. The famous "Luncheon on the grass" Manet as "The Italian" by Van Gogh at the Museum of Orsay were also offered by private individuals. In this field, the municipal Museum of le Havre distinguished without question. "Our history has been marked by four major donations, that of Eugène Boudin in 1900, followed in 1936 of the legacy of the collector Charles-Auguste P.m.d." "In 1963, the widow of Raoul Dufy bequeathed 70 works of her husband and, in 2004, Hélène Seen-Foulds gave the collection of his grandfather to the city," says Annette Haudiquet, Director. A priceless set of some 200 drawings and paintings by Degas, Renoir, Pissaro, but also Monet, Sisley and Courbet. A do fade envy all the major museums. "He started to buy around 1900 until 1930. "Some tables were therefore more in the market for more than a century," she says. Without direct heir, it is to avoid a dispersion of the superb collection which she felt depositary that it has chosen to make a gift in le Havre, where his grandfather lived. After six months of work for its presentation, the Museum was reopened earlier this month and is now claims as the most important Museum of region for the Impressionist period.

In the national museums, the Conservatives are already largest: among the assets blocked in the territory until 2007, some are worth two or even three times more expensive than their recent acquisitions. What gave them the idea to go for several companies ready to associate their name with the purchase of a single masterpiece.