art dealer

You know how it is in the art scene: big checks, big names and big egos like to stay under the radar. Anonymity is the norm, of course, and the buyers of Rothkos and Basquiats don't like to see their names in press releases. Yet, a look under the covers of the TEFAF Maasricht art fair shows that some pretty important pieces moved for some rather hefty amounts. The billionaires came out to play, and dealer and galleries were more than ready to accommodate.

Over 10-days, $2.7 billion of inventory was offered t dealers and museums from around the world. Prices edged higher thanks to a recovering art market, and impressive pieces found new homes. Jean-Michel's Basquiat's "Busted Atlas 2" was picked up for $2.4 million by a German collector, sold by Van de Weghe Fine Art, a gallery in New York.

Nonetheless, it's not like the art bubble. David Leiber, of New York's Sperone Westwater gallery, tells Bloomberg News, "Collectors are adjusting to the new values. We have to charge these prices because we can't replace these works." He adds, "There may be some people who went a little overboard at the auctions," a sentiment echoed by Paolo Vedovi of Galerie Odermatt-Vedovi. Vedovi observes, "Auctions are almost a separate market," continuing, "We don't see many of those people. Art fairs aren't as spontaneous. Buyers are cautious and they need to think."

The action in Maastricht is expected to be hot. Two hundred sixty-three dealers will descend upon the Dutch city, bringing art inventory worth $2.7 billion to the world's largest art and antiques fair, Tefaf. Fingers are crossed that billion-dollar collectors will come out to play. The market has turned the corner, but the community mains reluctant to get its collective hopes up.

For the art market, this is the first chance to see how high demand for art is outside the auction houses. Private deals don't offer the transparency of the gavel scene, but the transactions can be far more interesting. By the end of Tefaf, we'll know just how deep the art market recovery is running. VIP guests will be allowed to visit tomorrow, ahead of the great unwashed.

The largest group of dealers at Tefaf this year will be those representing pre-20th century pictures, with more than 70 exhibitors. Sandro Botticelli's "Madonna and Child with the Infant Sant John," reaching back to the late fifteenth century, will be available for $15 million by Dickinson of London. Dickinson is also showing Paul Gauguin's "Deux Femmes," with a price tag of $24.4 million. Both are being sold by private collectors.

For the past week, the art community has focused on New York City's annual Armory event, in which artists put their best pieces forward, dealers and galleries are on the prowl and collectors look for new finds that will someday redefine their portfolios. Momentum from the contemporary art auctions at Christie's and Sotheby's was certainly present, as all in attendance seemed focused on opportunity rather than window-shopping. The efforts at the Armory were consistent with a marketplace that's active, not the crushing fear that characterized the art market through the second half of 2008 and most of 2009.

1. Koons went bare
What was expected to be the most controversial event of Armory Week turned out to be subdued, though well attended. Jeff Koons offered a tribute to open sexuality with an exhibition that opened last Tuesday. Protesters weren't in sight, but musicians Cyndi Lauper and The Edge (guitarist for U2) checked out the show.

2. Solo booths were back in style
According to ArtInfo, "Solo artist booths were everywhere you looked." Individuals were ready to put themselves out into the market. Collectors had the opportunity to focus on specific artists as a result, rather than see disparate artwork crammed together by galleries and dealers managing inventory as if they were grocers. The good news, however, is that this shift isn't indicative of an art market slump. Rather, it's a sign of optimism. There's a belief out there that art collectors are ready to buy, especially given what we've seen at auction so far this year.

It looks like art market watchers (including me) were right for the wrong reasons. At the Sotheby's contemporary art auction last night, $84.5 million in sales were completed, but the highly coveted Lucian Freud didn't hit its low estimate. Lucio Fontana, Yves Klein, Willem de Kooning, Peter Doig and Frank Auerbach, however, led to pitched bidding battles.

The evening's highest price was paid for de Kooning's "Untitled XIV," which fetched 4 million pounds over the phone, beating its high-end estimate by a third. The seller was a collector from Europe who picked up the painting from the artist's estate. Doig's "Saint Anton (Flat Light)," an Alpine scene, was good for 2.8 million, also via phone.

But, Lucian Freud still stole the spotlight, if not the top bid. His self-portrait with a black eye carried a low-end presale estimate of 2.8 million – after having been offered at a lower price in private sale before the auction. The seller, Victor Chandler, is a bookmaker based in Gibraltar with a penchant for secrecy: his press officer refused to be named (according to Bloomberg News).

The Lenz collection, also high-profile, performed very well at Sotheby's. Only one of the 47 lots wasn't able to move, and the entire collection sold for 23.2 million pounds, soundly beating a presale estimate of 11.2 million pounds to 15.2 million pounds. The most expensive piece was Klein's "Fire" painting "F 88," which brought in 3.3 million pounds, just shy of its high estimate of 3.5 million.

The evening's surprise came from Auerbach, who's 1956 drawing was purchased by London art dealer Offer Waterman for 1 million pounds, far above the presale estimate of 50,000 pounds to 80,000 pounds. Interestingly, Sotheby's senior international specialist Oliver Barker noted to Bloomberg News, "The gap between Auerbach and Freud and Bacon is closing." Are we seeing a new evolution in the Francis Bacon supply chain?

Overall, the contemporary art auction beat its high-end presale estimate of 45 million pounds and thrashed the 2009 result for the same auction, a mere 17.9 million pounds for 27 lots.

The art market was already in decline when the global financial system was sent into mayhem in September 2008, but the financial nightmare accelerated the drop. This past year has been pretty miserable for artists, galleries, dealers and collectors (who have seen their buying power dry up), but that doesn't mean there hasn't been anything to celebrate.

Several prominent pieces hit fantastic heights at auction this year. Some of the names will look familiar, including Andy Warhol, Henri Matisse and Alberto Giacometti. Old Masters and Asia are represented as well, as they have generally done best in resisting the forces of the art market recession.

Below, take a look at the top 10 pieces at auction in 2009.

Art Basel was fun again this year. After a recession-stained climate last year led to toned down partying, collectors and dealers (and everyone else) was back in style this time around. According to the Wall Street Journal, it seemed like everyone was throwing a party this year, with the likes of Larry Gagosian and Lance Armstrong getting in on the action. And, the parties didn't suck. Hosts went all out -- with live music and other attractions -- to separate themselves from the competition. Some even tried something new, with the words "Everybody has a Damien Hirst" uttered.

Of course, there were enough celebrities in supply to ensure that every host had one to boast about. Scott Stapp, lead singer of Creed, and Russell Simmons, for example, were present at the Mondrian South Beach Hotel. Simmons is a committed collector of works by Jean-Michel Basquiat and Barbara Krueger and was in town to raise money for his charity, Rush Philanthropic Arts Foundation.

An after-party hosted by Julian Schnabel's art dealer son, Vito, attracted some big names, as well. Peter Brant, an art collector who recently tried to move "Brother Sausage" by Basquiat at auction, was there, along with Abby Rosen.

Yet, there were more intimate dinners and cocktail parties than in past years, according to Art Basel regulars. A few corporate sponsors still made the plunge, including UBS, NetJets and Cartier.

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.

Christie's tried in New York with a 1983 piece by Jean-Michel Basquiat and didn't succeed. The auction house may have been too aggressive in estimating the 16-foot piece at $9 million. That's what's tough about the art market right now. There are signs of recovery, and it can be tempting to push for higher prices. Unfortunately, it's easy to get a bit excited. The painting had the highest estimate at the auction. The piece with the second highest presale estimate, a piece by Andy Warhol, met a similar fate.

The Basquiat piece, "Brother Sausage," was offered anonymously by a buyer later revealed by Bloomberg News to be Peter Brant, an art collector based in Connecticut. The piece may be a casualty of his divorce from model Stephanie Seymour. Well, it won't be financing post-marital discord and could remain a contested asset for a while.

Warhol's "Tunafish Disaster" was projected to move for up to $8 million and, like the Basquiat painting, didn't receive any bids. Art dealer Robert Mnuchin of L&M Arts was stuck taking it home.

Yet, some works beat the odds in an auction that raked in $74.2 million, within the presale range of $61.5 million to $88 million. Nonetheless, this was the lowest result we've seen from a Christie's New York contemporary art effort since May 2003 and down 81 percent from the top of the market two and a half years ago.

It looked like to sculptures by Damien Hirst were headed for court. The two pieces, worth an estimated $47.6 million, were part of a broader lawsuit involving Udo Fritz-Hermann Brandhorst, an art collector and heir to the Henkel AG & Co. fortune. Brandhorst's former mistress, Venetia Kapernekas, sued Brandhorst in federal court for the artwork.

Kapernekas, a 49-year-old art dealer, agreed to drop the lawsuit over the weekend in exchange for custody of the daughter she had with Brandhorst, a one-time $100,000 payment, a $500,000 trust for their daughter's education, a loft in Soho (worth around $5 million) to be held in the daughter's name and $640,000 to cover her legal expenses. She'll also get $5,000 a month in child support.

As part of the deal, Kapernekas will be able to sell an Andy Warhol painting she received from Brandhorst. It's a heart-shaped blue and red piece called "Candy Box Open" from 1983. She has chosen Sotheby's in London to handle the sale, and it could go for $40,000. She won't be able to sell another Warhol, "Heart," because it belongs to her daughter.

A big auction with major pieces actually beat the top-end estimate – when's the last time you heard that? Wednesday night at Sotheby's, the Impressionist sale brought in $181.8 million, thrashing the high estimate of $163 million and almost tripling the Christie's auction from November 3, 2009. It's also around three times the last equivalent sale by Sotheby's, which was back in May.

The Sotheby's auction was packed with notoriety. Conde Nast's top dog, S. I. Newhouse Jr., sent some work under the gavel, as did Louis Reijtenbagh. Artwork by Giacometti, Picasso and Renoir was sold. Sixty-six lots were offered, with only 10 failing to sell.

New York art dealer Helly Nahmad told Bloomberg News, "The art market is back," but that may be premature. Bidders were chasing the high-quality pieces, and it is tempting to believe that what auctioneer Tobias Meyer calls "a year of abstinence" is over. The fact that the Sotheby's auction was so much greater than that at Christie's, though, makes me want to see a few more sales before calling it a trend.

The Frieze Art Fair is drawing the right kind of people this year, even if the art market is showing little more than hope (and even that's debatable). Roman Abramovich - billionaire, Francis Bacon fan - has been seen scoping out the merchandise. Gwyneth Paltrow is at the show, too. Both were at the VIP preview (separately), and David Ganek made an appearance as well. Ganek is a hedge fund manager and art collector, and his wife, Danielle wrote a god-awful novel about the art business in Manhattan.

The Frieze Art Fair runs through October 18 and occupies 70,000 square feet in Regent's Park. In attendance are 165 gallery owners from 30 countries, all eager to take advantage of collectors excited to be at Europe's largest art fair. But, they have their work cut out for them. Auction sales are down between 70 percent and 80 percent from last year, and that's usually a pretty good sign of how the art market as a whole is doing.

There is some action at Frieze this year. Artist Jim Hodges has an exhibition at the Pompidou Center in Paris that's captured the attention of a museum. Stefan Edlis, Jean Pigozzi and David Roberts - all prominent collectors - have been seen at the fair. Art dealer Marianne Boesky moved 13 paintings from a new series of 15 watercolors by Barnaby Furnas that depict the capture and execution of John Brown, the Civil War abolitionist. Prices ranged from $25,000 to $30,000.

After the dismal situation at Frieze in 2008, there's a collective desire for this year to be better. While wishing for an art market recovery probably won't make a difference, the sentiment itself is comforting.

Selling at the top of a bubble is fantastic ... if you can pull it off. You look, feel and live like an absolute genius. Former art dealer Anthony d'Offay did this, unloading 725 postwar and contemporary pieces before the art market collapsed, dragged down by a global financial crisis. Timing is everything, and the collection purchased for a mere £26.5 million was valued at an astounding £125 million. Included were Jeff Koons' "Winter Bears," an Andy Warhol hamburger (evidently more expensive than those at Burger Joint) and an Anselm Kiefer palm tree.

D'Offay didn't make a dime.

Rather than sell the collection at a profit of close to £100 million, he sold them to the United Kingdom at cost: £26.5 million. Instead of taking the money, d'Offay chose to be paid with strings ... namely those attached to the deal. The condition of his sale was that the country had to send the artwork on tour throughout the UK, making it easy for people under age 18 to access the art.

D'Offay explains that financial constraints on British museums – which are free and thus have no money with which to acquire new pieces – are great for the people, but not for keeping the walls full with fresh material. On the list for the future is a special room for Damien Hirst's "Pharmacy" installation and has already purchased Hirst's "Painkillers" piece (pill cabinet) for $877,000. In a deal with Hirst, he also picked up work by Koons, and Hirst's new "Necromancer." Hirst was d'Offay's gallery assistant as he was finishing college.

D'Offay's talent, he says, is buying art, rather than curating or creating. He became inspired as a child in northern England when viewing a collection of Francis Bacon (shocking, right? Bacon connection comes back again ...).