After 2006, that is to say seven years after we began collecting pieces, we launched a cycle of exhibitions (Salon du Collectionneur at the Grand Palais, Paris 2007; the Paris Mint, in one of Jean Prouvé’s nomad structures, Paris 2010) and auctions, at Artcurial in Paris, Christie’s in New York and with Wright in Chicago. This enabled us to finance our activity and also drew attention to the work of Pierre Jeanneret, who had always been overshadowed by the stature of Le Corbusier, what with the thousands of publications that had made Corb’s name so well known. Jeanneret emerged from anonymity thanks to well documented catalogues, to the point that his pieces got an official rating on the art market, an indispensable condition for the diffusion and protection of all works of art. Our reference book ‘Le Corbusier, Pierre Jeanneret. L’aventure Indienne. Design-Art-Architecture’, published in 2010, gave a clear listing of all the models by type, thus enabling the market to set up on a solid basis. Unfortunately, high prices paved the way for the intrusion of pieces inspired by Pierre Jeanneret models, and even fakes, which are common on the internet and even in some unscrupulous auction houses. A connoisseur can spot them fairly easily by referring to the original typologies reproduced in our book, and by comparing the quality of materials, craftsmanship and finish.