PhillipsDePury

The action was small at only $9.6 million, but big names were featured at the Phillips de Pury art auction on Friday night. Donald Judd and Jean-Michel Baquiat went under the gavel and home with collectors for the third auction in a row. This follows solid results at Christie's and Sotheby's, marking a distinct turn in the fortunes of the art market.

Phillips de Pury didn't match Sotheby's and Christie's in terms of above-estimate totals and older works, but that really is the norm. So, I wouldn't view the fact that it only hit the middle of its presale estimate pessimistically. Given what was sold earlier in the week at the larger houses, the Phillips sale does nothing but confirm the direction of the art market.

Established artists did continue to rise aove the fray, with Judd's 1987 sculpture, "Untitled (87-29 Studer)," selling for £735,650. Basquiat's "Cash Crop" landscape and collage "Untitled" were the second best sellers behind Judd's work at £713,520 each. All beat their low-end estimates of £600,000.

There was a concern that Phillips would struggle to attract buyers, particularly because the auction was focused on living artists. While the challenge may not have been evident from the fact that 86 percent of the lots sold, it was confirmed by the tendency of them to move at the low end of the presale range.

The London art auctions are upon us, and a year has made a hell of a difference. The auctions at Christie's, Sotheby's and Phillips de Pury are expected to fetch at least $104 million, which would be an increase of 68 percent over the same season in 2009. If the houses can pull this off, the art market will probably breathe a collective sigh of relief after more than a year of downright awful results.

At this point last year, the art market was in miserable shape. It was already in trouble, as the recession had begun to crystallize over the summer of 2008, a process which was hardened by the financial market meltdown in September. By the end of the year, prices had plummeted, and the practice of guaranteed minimum pricing had generally been abandoned.

By the end of 2009, signs of a recovery began to emerge, though few were willing to commit to it. A few pieces, such as Andy Warhol's "200 One Dollar Bills" turned in strong performances, but nothing was solid enough to call a trend. Nonetheless, hopes are high for the next round of sales, which will include museum-caliber paintings by Peter Doig and Yves Klein. Shown at right is Andy Warhol's Dollar Sign estimated at $1,950,000 - $2,925,000 at Christie's London Post War and Contemporary Art Evening Auction on February 11.

What does 2010 have in store for the art market? Well, it's starting to look like this is the year the market will finally (begin to) recover, though there could be some trepidation at points. Better pieces are coming under the gavel, and serious collectors are interested in artists with real track records. As things loosen up, emerging artists and those just past that stage (think Ben Krell for the former and Nelson Diaz for the latter) will start to see better conditions, as the logjam in the auction houses, once broken, should ease the pressure on galleries and also lead to some progress in private sales. Basically, the return of liquidity to the art market will be better for everyone.

Almost everyone.

This year, some artists won't enjoy as much of the recovery (if it happens ... just to hedge our bets) as others. Their prices were run up too quickly, making the subsequent fall severe. These artists, auction darlings who don't have the history or potency of a Lucian Freud or even a Richard Prince. Yet, they shot out of the emerging artist category years ago. In 2010, these artists, including Damien Hirst and Jeff Koons, will occupy something of a purgatory, as the art market resets values through upward bidding, now that the decks have been washed clean.

I'm still not sold that the art market is recovering (it could be, but it's too soon to tell). But, if it is, the upside is going to the galleries and collectors -- the artists aren't getting squat. November was generally kind to Christie's, Sotheby's and Phillips de Pury, leading to hundreds of millions of dollars in art sales. So, to get their own piece of the art market pie that may or not be forming, artists are starting to go directly to the buyers.

Artist Ryan McGinness hosted a sale of pieces by several artists, with the person who did the work taking home all the spoils. The presale estimate of $47,000 to $57,000 made sense, as the final tally came to $51,300, pretty much in the middle. McGinness himself was present at the event ... via a video connection from Amsterdam.

The traditional auction model trends to benefit collectors rather than artists, as it creates a secondary market for artwork. It's really no different from the stock market. An IPO, if successful, will be the starting point, with the price going up later, to the advantage of all subsequent owners.

The Phillips de Pury auction on Thursday night raked in what once would have come from a single painting. Despite parading out pieces by Andy Warhol, Jeff Koons and Richard Prince, the sale was good for a mere $7 million, with individual lots moving for prices in the hundreds of thousands of dollars. Thirty-nine went under the gavel, and eight didn't sell.

The Chelsea auction house lacks the savvy, knowledge and reach of Sotheby's and Christie's, so it had to lean on British art collector Charles Saatchi, who has agreed to complete most of his transactions through Phillips de Pury. In trade, subsidies from the auction house help keep access to Saatchi's gallery free.

Roughly a dozen of the lots came from Saatchi, while the others are said to have been rejected by Sotheby's and Christie's. In general, the pieces were "pretty skimpy," according to Manhattan art dealer Edward Tyler Nahem, who observes that the auction house "did pretty well with what they had."

Japanese artist Yayoi Kusama was the top seller, with her painting "Infinity Nets (T.W.A.)" busting past its high-end presale estimate of $400,000 and settling at $842,500 (including fees). Kusama's performance follows a well-hyped exhibition at the Gagosian Gallery this year.

The three major auction houses were upbeat at the Frieze Art Fair and seem to think an art market recovery is in the works. ArtInfo reports that Sotheby's, Christie's and Phillips de Pury came out of the event feeling positive about the market's direction – even if it is tempered with a dose of reality. The number of pieces sold and the prices at which they moved were still pretty far from what they were in the pre-Lehman days. For now, though, collectors need to think about the early stages of recovery, not hope for a return to the glory days of 2007.

The auction houses did fairly well, though estimates tend to be far lower than a year ago. Damien Hirst's Wallace Collection moved well, with "Two Skulls" selling for $705,244, far more than its presale estimate. Emerging artists had moments in the sun, as well, particularly Hurvin Anderson's "Untitled (Beach Scene)," which sold for $158,304 – more than three times its presale estimate. Farhad Moshiri's "Cowboy and Indian" more than doubled its presale estimate, with a price of $548,976. In general, the auctions posted sufficient results, the first step in a market turn. Sotheby's and Christie's pierced the $20 million mark in recent contemporary auctions, and Phillips de Pury moved 31 of 43 lots to reach $6.7 million in a recent contemporary auction.

Now that the art market is moving from Frieze to FIAC and into the busy fall auction season, we'll get a sense of what 2010 will look like ... and if the market is finally picking up the momentum we all want it to show. The last art market slump, from 1990 to 1992, didn't bring an immediate resolution, with prices not returning to normal until 1995. So, brace yourselves for a slow recovery (or treat it as bargain season!).

The news out of Hong Kong has been solid so far, even if it continues the trend of meeting or beating lowered expectations. After a year of abuse, I think art collectors, gallerists and the artists themselves are eager for any good news they can claim. September was rough, according to ArtPrice, "with no room for over-bidding or risk-taking." There was only one contemporary artist, Andy Warhol, who has met expectations, so far.

But, there's room for hope: Jitish Kallah.

Kallah's only 35 years old. Born in Bombay, his work has been described by ArtPrice as "crisis-immune." The market for contemporary Indian art has been in a hard way, with the Christie's South Asian Modern & Contemporary auction last month bringing in only $5.1 million in sales – where the presale estimate was $5.6 million. Yet, Kallah's work set a new record, with "Dawn Chorus – 7" going for $320,000 and beating its high-end estimate by a factor of three.

Meanwhile, Warhol continues to deliver. A piece from his "Flower" series in 1964 went for $895,000 at Christie's in late September and a "Cambell's Soup Can (Tomato Soup)" fetched $310,000 a day later at Sotheby's.

So, we have fear and hope in October. This week, both Sotheby's and Christie's will hold auctions in the photography segment, with Phillips de Pury following next week. And, there are London sales coinciding with the Frieze Art Fair.

Let's see if art collectors are ready to dress their walls again.

Sotheby's, Christie's and Phillips de Pury have released their estimates for the October auctions, and late summer signs of confidence have disappeared. Contemporary art forecasts for next month's auctions are down 81 percent from October 2008 – which was the first series of auctions conducted following the financial crisis.

The three auction houses expect to rake in around $33 million during London's Frieze Art Fair, according to Bloomberg News. Last year's low-end estimate (not accounting for currency fluctuations) was five times greater than this year's low-ball number. And, last year, the houses were offering minimum price guarantees to sellers, a practice that has since been suspended.

Frustrating the situation for auction houses further is the fact that many collectors are turning to private sales rather than auctions, as they hope to retain a greater degree of control over the outcome of the transaction. If the buyer doesn't agree to a sufficiently high price, the seller at least walks away with his piece.

The coming of the Frieze Art Fair includes contemporary art auctions by Christie's and Sotheby's which will be held on the same day. The former will send 25 lots under the gavel on October 16, 2009, with a low estimate of ₤6.8 million. This is a profound drop from 2008's 47 lots (six guaranteed) and a low estimate of ₤57.8 million. The only promising sign earlier this year was an increase in sold rates, with Christie's moving 88 percent of its lots in June and Sotheby's selling 92.5 percent.

At today's Phillips de Pury & Co. auction, Now: Art of the 21st century, handbag designer (and possibly former artist) Damien Hirst is back on the scene with a major auction house. A year ago, he divested his collection of his own work, ostensibly sensing that the market for him was about to crash (which, in fact, it did). Phillips de Pury isn't making any big bets today with Hirst, though. For now, it has two lithographs of Hirst's famous(ly expensive) skull up for sale. For the Love of God, Laugh; The Diamond Skull is listed at £10,000 - £15,000.

Peter Fuss, on the other hand, seems to have nailed it. His piece, For the Laugh of God,, shown above, is also up for grabs. It's a knockoff skull, listed for a little more than half the price of the lithos (£6,000 - £8,000), but the title conveys the spirit. Created when Hirst was peddling the original skull for the princely sum of £50 million ($100 million at the time), For the Laugh of God was originally offered for £100, as a way to help Britain reclaim this "treasure."

The blog "Modelator," which covers Polish art, observed in June 2007, "Our British friends, we are coming to rescue you! Like the cheap Polish labour well known to you, Polish artist Peter Fuss wishes to relieve the British nation from such a great expense." This was in response to Guardian journalist Jonathan Jones, who declared, "We must buy the diamond skull for Britain."

While Hirst's skull cost a fortune even in materials, For the Laugh of God consists of close to 9,900 pieces of glass made to look like diamonds and entailed an investment of £250 and 18 hours. Now, it's up for more than 40 times that amount, while Hirst is reduced to selling posters.

Auction house Phillips de Pury & Co. tends to lean heavily toward the contemporary world, which is a lot like loading up your portfolio with small foreign stocks – it's extremely volatile. Before summer ended in 2008, this was a pretty good move, as contemporary art was skyrocketing at auction, and Phillips de Pury was there to take advantage of it. Since then, however, it's been harsh. At the May 14 and 15 contemporary sale in New York this year, the house pulled in only $10 million (compared to $62.8 million a year earlier).

To navigate the severe auction market, Phillips de Pury has decided to stick with the ultra-contemporary market, but it's restructuring, mixing contemporary art, photography and design – all of which are usually listed and sold separately.

Today's the day we'll see if it works. In London, Phillips de Pury is conducting the auction Now: Art of the 21st century. It consists of 291 mixed lots, with everything from photos to furniture. All pieces were created after 2000. There will be a wide spectrum of talent reflected in the lots, as well, with unknowns and high-profile artists like Tom Price and Candida Hoffer coming under the gavel.

Phillips de Pury has a reputation for being a bit more flexible than Sotheby's and Christie's, so breaking with tradition could help the house beat the bust and get back to the business of actually selling art at better than fire-sale prices.

When times are tough, you don't spend when you don't have to. There's sufficient graffiti in London to keep art collectors entertained, which is causing them to shy away from works by Banksy. Larger auction houses have cut down on the Banksy works they are carrying, and some of the regional auction houses are canceling their urban art specialist sales.

It's hard to tell if Banksy is disappointed. The artist, who was born in Bristol (west England) keeps his (her?) identity a secret. So, if you see some weirdo crying in a corner over the next few weeks at a pub in Bristol (or, maybe, London), ask if it's Banksy. It could be cooler than finding Waldo.

Prices for pieces by Banksy have plunged this year, with failure rates on the rise. Auction houses are now sufficiently nervous to hedge their bets, carrying little (or no) inventory by the artist and canceling auctions that may not deliver.

In general, contemporary art auction selling points are down 30 percent to 50 percent – about as much as your 401(k). The top houses – Christie's, Sotheby's, Bonhams and Phillips de Pury – didn't carrying any of Banksy's work in their June or early July auctions. This year, 76 Banksy paintings and prints have come under the gavel, with 30 of them (almost half) not selling. The highest price reached was $230,500 at a New York Sotheby's event. Last year, the top price for a Banksy piece was $1.9 million at Sotheby's RED charity auction in February.

June auction revenues were off 70 percent in London this year, due in large part to job cuts and an unwillingness to guarantee lots. Even the occasional sign of hope had to be taken with a grain of salt, as lower expectations tended to magnify this year's results falsely.

Together, Sotheby's, Christie's and Phillips de Pury pulled in $269.4 million in this summer's sales – off 70 percent from a year ago. In addition to the mechanical drivers of lost jobs and guarantees, the auction houses haven't had an easy time bringing high-profile, high-value pieces to market. Every event in London this summer unloaded at least two-thirds of its inventory, and success rates rose to above 88 percent at the Sotheby's and Christie's events this past June, but lingering in the background is the notion that 2009, at this point, is nothing like 2008.

To some, the current art slump is reminiscent of the early 1990s, in which a bubble in Impressionist art pricing precipitated a general decline, and nobody could get a realistic sense of a piece's value. The market took several years to recover, but it has since passed the levels of nearly 20 years ago. The Impressionists are down 68 percent this year, roughly in line with global trends, with the contemporary market off approximately 73 percent. New York fared no better than London, with contemporary sales at Sotheby's down 75 percent and Christies off 72 percent.

Christie's, Sotheby's and Phillips de Pury & Company felt out the fine art photography market at the beginning of the month. With the broader industry in turmoil, the auctions held from March 30 to April 2 were to show just how well one of the art market's most profitable sectors would fare.

At auctions in New York, Sotheby's pulled in $200,000 for a portrait by László Moholy-Nagy that was shot in 1920 ... good enough to be in the top 10 for photos by this artist. But, in better times, the piece probably would have gone for the $300,000 price estimate that Sotheby's put on it. Christie's moved an artist's proof by Richard Avedon for $95,000, and Phillips de Pury & Company's best result was a portfolio of 11 photos by Avedon, which sold for its low estimate of $100,000.

In general, ArtPrice referred to the results as "frankly disappointing." This is a stark change from 2008, in which more than 11,000 photographs moved at auction for a total of $158 million. By January of this year, the ArtPrice Fine Art Photograph index had plunged to its 2004 level.

Over the past couple of years Russia's new wealthy have made some big moves in the art world. Most recently, as my colleague Jared Paul Stern reported that Russian billionaire Roman Abramovich will be bankrolling a major Francis Bacon exhibition at his girlfriend Dasha Zhukova's new Moscow art gallery in 2010. Now auction house Phillips de Pury has been sold to Mercury, a Moscow-based luxury goods group. Phillip's founder Simon de Pury will still remain as chairman and will have a share in the company. This isn't Phillips's first spin with a luxury conglomerate, it was was briefly owned by LVMH. For Phillips, the new owners will provide a big influx of capital so that Phillips can continue adding to their contemporary art auctions and it will also likely bring some important auctions to Moscow.

Remember the necklace shown above? Well now it can be yours along with a number of other items of mega-bling from the hip hop world.On October 1, Phillips de Pury & Co. is holding the Hip Hop's Crown Jewels auction which will feature around 50 iconic pieces worn by hip hop luminaries such as 50 Cent, Biz Markie, MC Lyte, Kanye West and the late Notorious B.I.G and Tupac Shakur. Major pieces include Missy Elliot's diamond, black diamond and gold turntable ring, Biz Markie's black and white diamond headphones pendant, Sean "Diddy" Combs diamond and platinum bracelet, Pharrell Williams' pave diamond Gucci link necklace, Slick Rick's multicolor diamond-set eye patch and of course Lil' Jon's famous diamond and yellow diamond "Crunk Ain't Dead" pendant which weighs nearly 12 pounds and boasts 3,756 round-cut white diamonds total set in 18K yellow and white gold. A portion of proceeds from the sale will benefit Russell Simmons' Rush Philanthropic Arts Foundation, the Hip Hop Summit Action Network and the Diamond Empowerment Fund.

[via Fashion Week Daily]