I’d consider it a “market correction” on the heels of the Paris show which was clearly a massive success.

If I had to guess, I’d say the recent sales were aimed at capitalizing on a successful show, and the current lull is in anticipation of the NYC show in 2019 (at some point hopefully) and people are holding tight until that show is underway.

I think the buzz around Pejac is still strong, and will continue to be. I’d expect some special come NYC....just my two cents

Pejac needs to join a big gallery, and be placed in established collections.

These people don't need the money so flipping isn't an issue. They can be insecure and competitive so that will be the main drivers.

Being part of the Moma collection and strong results at Christie's and Sotheby's will be next level.

Banksy didn't have to do that....

Whereas... Adam Neate should have done that... So maybe you're right.....

It's hard pill to swallow, but Max needs Pejac more than Pejac needs Max. Maybe it's a loyalty thing, which is noble, but sometimes you have to upset a few people to achieve greatness.

A guy I met back at university was Coldplay's ex-manager. After Parachutes came out, he told them that he couldn't take them to the next level and they needed someone with more experience. He could have tried to ride that gravy train, but ended up committing a selfless act. But now they make music that I find annoying, so maybe he should have stuck around.

I think people mistake his fame in a small circle for actual fame

He's incredibly talented, but so are millions of people. He can easily burn out

And regarding nyc, probably 1% of pejac followers are American. But, hope you know Max well, resellers in NYC will show up days in advance to make $50, let alone to flip works. I fear NYC could show his true current value in the world vs as forum. And that could break a lot of hearts here. There's a reason many have been selling recently. I wouldn't push that NYC show idea as being good just yet...

From an outsiders perspective, Paris was beautiful, but the turn out rather poor. In the states a no name artist can pull thousands through the door in one evening. Someone looked at like European forum members look at pejac would have a few thousand lined up a couple days in advance. Things are much, much different here. The euro guys have no idea how lucky they are. I've waited nearly a day in line just to fill out a raffle ticket lol... And definitely wasn't successful

I don’t really get the comments about Max. I think he is doing his job at a pace that must have been agreed with Pejac.
We don’t have to mix what we want as collectors/groupies with what’s important for the artist.
Not everyone is looking for money and fame. And our timeline may not be his’ as well.

Rereading at my message, i wiuld like to clarify something:
I don’t think Pejac’s agenda has money and fame as priorities.
Max, as a manager, should have that as objectives, as it’s his job :-)

The trajectory of those prices doesn't reflect taking it slow.

There are 2 ways of seeing the price:

1/ The cost as of today: aside from the obvious logistic and execution work (paint, hours spent, etc.), how much we value the Artist's talent right now. As an indicator, I think we have plenty of opinion on this forum that shows he doesn't gather all crowds. The price variance is then quite big, between people not ready to pay more than cost versus others who are ready to pay a premium. We have people who question de price, hate it, other defending it, etc.

2/ The future cost: the expected price in X years. In my opinion, this is more related to investment. How much do we believe that the artist will grow within a specific timeframe. Buyers will bet in now, believing that the return will be greater than any other investment. In such situation, you will have less people shouting on forums, more buyers taking any opportunity to accumulate stocks until the expected price is reached or the timeframe ends.
As timeframe varies (flippers = super short timeframe, in days/weeks), you will have owners trying to hype their stuff so their expected price is being reached on time.

From my understanding, there were more than just two people who were willing to pay that 30k+ price tag for the massive originals at the Paris show. At least with Pejac (and those two originals specifically), you know what you are getting in terms of skill, technique, message, and overall quality of the work, putting aside the potential secondary market value. Those two originals were huge, like you said, so I can definitely understand the desire to own them, even at that price point. I do agree with you as well about Max. I think he's doing a great job and I believe there is a bright future ahead for Pejac. The NYC show may have the potential to propel his career even further if a lot of traction is built, and the show results in the same success as his previous shows. I'm certainly enjoying the ride so far as a collector

It is very nice, similar to one someone here has of his - in the 'Your favourite piece..' thread. clever use of chipboard

Some details

The hype is real

Woow, how did He make this? Oilpainting?