Fancy meeting you here, Mr Léger!

“You’ll never believe how much I paid for this!” my friend says, wrapping up a sky-blue plate in a bundle of old newspapers. “€60! It’s priceless.”

We’re standing in the middle of the antiques market on place du Marché Fourville. A rather breezy Art Deco hall in central Cannes.

The plate – by cubist artist Fernand Léger, no less – is the sort of work that normally travels with its own bodyguard.

My friend, on the other hand, is less valued locally.

He’s what’s known as an “art nose”. He can sniff out a fake – or a masterpiece – at a thousand paces.

I’d arranged to follow him around three of the city’s top art markets and warehouses to test out the legend that Cannes is awash with unrecognised masterpieces. And it had got off to a pretty promising start…

Antiques market, Place du Marché Fourville, Cannes. Every Monday 8am to 6pm.

A deceptively down-at-heel market selling everything from Fifties Gucci flats to crystal fruit bowls and fading water-colours, this is the perfect place to start your city trawl. During our 30-minute visit, we picked up a signed set of lithographs by Picasso, printed to celebrate the completion of the La Guerre et La Paix fresco in Vallauris, for €200 (market price €2000) and a rare – but chipped – 19th century Japanese ivory sculpture for €150 (market price once restored €1500) virtually identical to one sold at Christie’s last week.

Insider tip: Don’t be fooled by appearances: a chipped statue can sometimes hide a priceless gem. Swot up on high-end auction sites like When it comes to books, go for limited editions in short print runs.

Il était une fois… à Cannes, 106 Bd Du Midi, Cannes La Bocca. Daily 9.30am-6pm.

This ranch-like furniture-and-fixtures warehouse opposite the tiny port of Béal on the Bay of Cannes is owned by an upscale carpenter and vintage furniture fan. Fewer masterpiece-spotting opportunities but we snapped up a ceramic stool by currently-undervalued Fifties actor and sculptor Jean Marais for €80.

Insider tip: Artists drop and rise in value, just like stocks and shares. If you’ve got the space, buy now and profit later.

Art Depot, 1635 Chemin de la Plaine, Mougins, Tuesday to Saturday 9.30am-12.30pm, 2.30-7pm. Monday 2.30-7pm.

An upmarket end-of-series furniture and art store run by English- and Italian-speaking duo Stéphanie, daughter of an antiques dealer, and Eric, who have an eye for up-and-coming local artists. We snapped up a monumental canvas by auction-friendly Nice-based painter Jacqueline Gainon for €260.

Insider tip: Today’s unknowns are tomorrow’s Picassos – so go with your gut. The warehouse is too small to fit everything in, so have a word with Stéphanie if you’re on the look-out for something special.


Hmm, c’est bon

From homely French cooking and Bono-inspired brunches to roof-top finger food and “sophisticated deli” fare, the foodie scene in Cannes turned it up a notch in 2012. Here’s a snapshot of who made it down this year’s culinary red carpet.

La Toque d’or

Despite opening just six months ago, this modest eatery is already threatening to wrestle back the gastronomic crown from Cannes’ luxury hotels. Trained under the Riviera’s top chefs, husband-and-wife team Steven and Magalie Trucco offer a Mediterranean menu made from local produce (the restaurant is just a courgette’s throw from Fourville market), including meat from the award-winning Boucherie du Bosquet. “My favourite recipe? Pig’s cheek with porcini mushrooms,” says Steven, almost apologetically. “The simplest dishes are always the best!”

Address 11 rue Louis Blanc – Tel. 04 93 39 68 08. Open Tuesday to Sunday.

Cost €65pp.

Sea Sens

Nicknamed “the serial cooker” because of his extraordinary culinary repertoire, Arnaud Tabarec recently took the city’s roof-top dining scene to a whole new level. Head-hunted last July by top chefs Jacques and Laurent Pourcel (the guardians of the Five Hotel and Spa’s gastronomic reputation), this globe-trotting foodsmith has wowed the critics with his French-Singaporean fusion finger food served to live DJ sounds in the hotel’s minimalist poolside brasserie. The mini cheese burgers with wagyu beef and comté are out of this world.

Address 1 rue Notre-Dame – Tel. 04 63 36 05 06. Open 7pm to 1am.

Cost €80

3.14 Cannes

Launched just three months ago and already a Cannes institution, Sunday brunch at 3.14 Cannes – the favourite haunt of Bono at film festival time – is the brainchild of Italian chef Mario d’Orio, a Croisette veteran with 38 years of culinary invention under his belt. “My menu’s brimming with sunshine,” says Mario. “I play the matchmaker: I bring cultures together.” The buffet selection of salade niçoise with white tuna, spicy tabbouleh and a trusty potato gratin certainly fits the bill.

Address 5 Rue François Einesy, Cannes – Tel 04 92 99 72 00. Sunday brunch 11am-5pm.

Cost €38

Le Relais

There’s sibling rivalry afoot at the Hôtel Martinez. When top chef Christian Sinicropi unveiled his new menu for Le Relais, the hotel’s “sophisticated deli”, last August, he didn’t expect its rustic line-up of regional dishes, such as sea bass and red pepper marmalade flavoured with aniseed, followed by cherry trifle with rosé champagne jelly, to win over a visiting sell-out pop star who snubbed the Martinez’s premier-league restaurant, La Palme d’or, in favour of this young upstart. The staff are far too discreet to name names…

Address 73 La Croisette, Cannes  – 04 92 98 74 12. Open daily.

Cost €120

This article first appeared in Vertu Select magazine in November 2012.

The man who got into a clay fight with Picasso: part II

Picasso moved to Cannes with his new partner, Jacqueline, in 1955. After six happy years, he suddenly left the city in 1961. In this second instalment of my interview with Frédéric Ballester, the director of the Malmaison art centre in Cannes, who met the artist as a child, I explore Picasso’s sudden decision to abandon the city and why Jacqueline decided to return after his death.

Picasso was very happy in Cannes. Why did he leave?

There was a building boom and by the late 1950s his house – La Californie – was surrounded by a forest of cranes. He applied to build a roof terrace, but the town refused him permission. That made him really angry! He’d also started experimenting with sheet metal. His studio at Notre-Dame-de-Vie in Mougins was better equipped for that type of work.

What became of La Californie after Picasso left?

Picasso rarely sold his homes. He used them to store his collections. That was especially true of La Californie. When he had to vacate his house in Paris, he sent most of the contents to Cannes. It was packed with priceless works by Miro, Rousseau, dozens of Primitivists, and hundreds of his own paintings and sculptures. It’s hard to believe now, but there was no security. Not even an alarm! When you walked past, you could see no one was home. Where the sculpture park had once been, the grass was waist-high. It’s hard to tell how many works were stolen from the house. Some came to light just recently. In the early 1960s, someone wrote to Picasso and told him they’d seen smoke in his garden. When he checked, he found a man squatting in his chicken coop. He hadn’t even noticed!

When Picasso died in 1973, Jacqueline often returned to Cannes. How did she cope with his death?

From the time I set up La Malmaison in 1982 to her death in 1986, I spent many hours with Jacqueline. Picasso’s death knocked her sideways. It left a huge void in her life. I think that’s why she took her own life. She was surrounded by vultures who were only interested in one thing: Picasso’s works. I regret not going more often. I used to visit and wonder if I was bothering her. When I did, she talked about Picasso all the time. Cannes was filled with happy memories: she just couldn’t let go.

This article first appeared in the September issue of Vertu Select magazine.

The man who got into a clay fight with Picasso: part I

When Picasso was searching for a home for himself and his new wife, Jacqueline Roque, in the Spring of 1955, the artist settled on a secluded villa high in the hills above Cannes. An exotic Moorish-style residence walled by a dense tropical park, La Californie enjoyed commanding views over the Bay of Cannes. Until his departure in 1961, Picasso filled every room with thousands of new works, from Mediterranean landscapes to experimental metal sculptures. Frédéric Ballester, founder of the Malmaison Art Centre in Cannes and curator of its summer exhibition, Les Chemins du Sud, was a regular visitor. In the first instalment of a two-part interview, I talk to him about his memories of Picasso, why he moved to Cannes and its influence on his work.

What’s your first memory of Picasso?

I was six years old. My parents, good friends of Picasso, called on him at his ceramics studio in Vallauris. I remember the pottery drying in the sun, the smell of clay, the smoke hanging over the town, and an old man rolling up little balls of clay and throwing them at me. It all ended in a clay fight!

Why did he move to Cannes?

When Picasso left his first wife, François Gilot, in 1953, I think Jacqueline pushed him to leave Vallauris. He wanted a big house but he didn’t want to go too far away. La Californie was perfect.

How did Cannes influence his work?

When he arrived at La Californie, he was brimming with new ideas and you can particularly see the influence of Matisse in his work. It marked a break with Antibes and a return to painting, landscapes and Mediterranean themes. When you look at a painting like La Baie de Cannes, you sense a sort of bulimia. He deconstructs the town and turns it towards us because he wants to fit everything into the picture.

Although he was in his 80s when he lived in Cannes, there’s a sense of renewal about his work. He’d left one woman and moved in with another. It was a new adventure. Jacqueline was a breath of fresh air. She was going to protect him at the end of his life. She gave him energy. She used to tell me how much she loved this powerful man who remained strong right to the end, and whose death would leave a fatal void in her life…

This interview appeared in Vertu Select magazine in August 2012.