contemporary art

Richard Prince's Millionaire Nurse (detail above) painted in 2002 is one of the starring lots in Sotheby's' Contemporary Art Evening Auction in London on June 28. The consummate example of Prince's nurse paintings, estimated at about $3 million – $4.5 million, it represents a bit of a discount from the artist and Louis Vuitton collaborator's pre-recession heyday and the result will be closely watched by contemporary art experts. Also in the stunning sale: two major works by Andy Warhol – Camouflage Self-Portrait from 1986, similar in style to the one that recently set a world record, and Three Jackies from 1964 – both estimated at about $2 million – $3.5 million; Jean-Michel Basquiat's Untitled from 1982, estimated at $800,000 – $1.2 million; and Yves Klein's RE 49, estimated at $6.5 million – $9.5 million.

The term "gibetting" doesn't often come up in hotel tours, but it did almost immediately at the Henry Jones Art Hotel, in Hobart, Tasmania.

The hotel is located right on the city's gentrified harbor and in the oldest part of this city -- the place where where convicts would land starting in 1804, the earliest days of Australia. Let's just say it wasn't a place for coddling, so as a warning to convicts who might be tempted to behave badly, the bodies of the executed who'd already behaved badly were hung from a gallows-like structure and allowed to rot right where new arrivals couldn't miss it.

Which happens to be right outside today's hotel, explained Warren Glover, the hotel historian. (Hotel history tours are free whether you're a guest or not, and Glover's an excellent storyteller.) He'd taken me outside to explain the area's history, and as I looked at the spot where the nasty business was once undertaken, a wedding party streamed around outside, taking advantage a sunny and crisp March day.

So yes, things have changed quite a bit in the past two centuries.

The hotel opened in 2004, on the site of a jam factory which was once the biggest employer in Hobart. The jam factory closed in the 1970s, and in the intervening decades, it became something of a homeless squat. When architects Morris-Nunn and associates were transforming the space into a hotel, they not only kept original architectural details -- the structure dates to 1825 -- but they also preserved some of the more decorative damage done by the building's unofficial residents. A fire started accidentally by a squatter left a pretty pattern on the ceiling in one of the hallway's, for instance. But the art you'll find here is far more than just architectural.

Following an incredible number of record-breaking sales of some of the world's most expensive items, from cars to art to watches, diamonds and estates, that have taken place just in the past two weeks, we are hereby making an official declaration: The Rich Are Back. While the economic recovery has been slow to materialize in some quarters, those with the money to make multimillion-dollar purchases are suddenly not shy about dropping the coin. The megabucks deals mean an optimistic outlook has finally taken a firm hold, and the wealthy no longer feel the need to pinch their pennies in the fear that more hard times could be lurking right around the corner. We say it's about time too.

In one hectic twelve-day period, from May 3 to May 14, we saw the record-breaking sales of a $106 million Picasso painting; a $50 million mansion in Bel-Air; a $46 million ranch in Colorado; a $40 million Bugatti; a $32 million Warhol self-portrait; a $26 million Jasper Johns painting; an $18 million Ferrari; an $8 million blue diamond; and a $5 million Patek Philippe chronograph – about $330 million worth of the world's most expensive possessions. The astonishing sales have given an immediate boost to the art, classic cars, real estate and collector's timepieces markets, many of which faltered in the wake of the economic downturn, losing billions of dollars in value. Here's a rundown of the nine history-making deals as they unfolded over the twelve-day whirlwind of wealth disbursement; see the gallery for images:

Following the record-breaking $106 million Picasso sale we reported on last week, another world record has been set with the sale of late author Michael Crichton's seminal Jasper Johns Flag painting last night for $28.6 million. Both works were sold by Christie's in New York, fulfilling our prediction in The Classicist last month that the auction house's May art sales would bring in "megabucks". The 1966 flag painting, which had been estimated at up to $15 million, was sold to to New York art adviser Michael Altman before a crowd of VIPs and art collectors including hedge-fund manager Steve Cohen, Hollywood mogul Michael Ovitz, billionaire Eli Broad, author Salman Rushdie and designer Marc Jacobs. The sale's other big cash cow was Andy Warhol, whose 1965 Elizabeth Taylor diptych, "Silver Liz," sold for $18.3 million to New York art dealer Dominique Levy. The Crichton estate's 31 pieces alone sold for $93.3 million, against a $69.6 million high estimate. The sale broke at least five world records for artists including Johns, as predicted by Luxist's Tom Johansmeyer.

All in all Christie's auctioned $232 million of post-war and contemporary art on Tuesday, with around 74% of the offerings going to American buyers. "Within five minutes of opening the rooms for the stunning pre-sale exhibition of the Crichton Collection, we were packed," said Brett Gorvy, International Co-Head of Post-War and Contemporary Art at Christie's. "There was a sense of anticipation. The sale [Tuesday] reaffirms the continued confidence in the art market." Amy Cappellazzo, Christie's International Co-Head of Post-War and Contemporary Art, notes that "This is the most significant Post-War & Contemporary Art collection ever sold at auction. It was a quintessential American sale. We were delighted with the results across the board and also to see the works by Warhol sell well. Warhol is a bellwether for the market. It sends a strong signal across the board."

The Impressionist and Modern Art sales on May 4 and 5, 2010 are likely to confirm a continued climb in art auction pricing. We're now six months or so into the badly needed upswing, and there's plenty of room for optimism. Not only are the presale estimates and sales on the way up, but the number of pieces being resold quickly is on the rise, as well. This means that there's a high degree of liquidity in the art market: collectors can sell easily and without worry (as long as the inventory doesn't suck, in which case there's no hope, of course).

The increase in art market liquidity is due in part to the return of guaranteed minimum pricing, in which the auction houses assume some sales risk for attractive or desirable pieces that they feel can beat the numbers and attract buyers and sellers of other strong works. According to ArtPrice, there are "tens of millions of dollars for major works" committed via guaranteed minimum pricing, indicating that confidence is up.

It's the price guarantees that have led to the arrival of some strong pieces at the early may auctions this year, including pieces from the collections of Mrs Sidney Francis Brody, Raymond and Miriam Klein, Bernard Goldberg and Michael Crichton. Brody's works alone could fetch up to $150 million. The high estimate for Christie's is $300 million, a target that doesn't include the top lot, "Nude, Green Leaves" by Pablo Picasso, which as Jared Paul Stern revealed in a recent column is expected to bring in as much as $90 million. Other artists with eight-figure estimates include Henri Matisse, and Alberto Giacometti.

Don't just look for good news – also a expect a few records to b set. Sotheby's has high hopes for pieces by Salvador Dali and Auguste Rodin.

"Apropos of nothing, it's nice to have you here and thank you we need the money."

I was standing in the living room in "Esmond", one of Morilla's winery's four new guest pavilions, and the black carpet with the red block letters only caught my eye after I'd admired the contemporary art on the wall, had gotten myself oriented to the in room control panel (lights, TV, window shades, music) and had gone out onto the balcony to take in the panoramic view of Tasmania's Derwent River.

Of course, the idea of Morilla needing money is entirely preposterous. This hotel/winery/brewery/event space and oh yeah, soon-to-open museum called MONA that will be the largest private art collection in the Southern Hemisphere -- is owned by a guy with deep pockets, a Tasmanian named David Walsh.

A math whiz, Walsh made his money gambling -- two years ago, he proposed that a story about him in the Australian newspaper AGE start with "David Walsh is a rich wanker." Morilla is one place where he's been spending some of those riches since he bought it in 1995.

Often, when a rich person gets the idea to go into the hospitality business as a lark, you end up with places that are on the bizarre side of idiosyncratic. But Walsh has not skimped out on hiring experienced staff, so as he's added on to one of Tasmania's most venerable wineries, the result is a place that definitely showcases his personality -- for instance, there's no bible in guest rooms, but there is a copy of The God Delusion -- but also meets standards of a well-run luxury accommodation.

May is shaping up to be a megabucks month for the art market with some of the world's most notable collections of modern and contemporary master works crossing the block. Topping the list is a rarely-seen Picasso that's expected to fetch up to $90 million at Christie's landmark Evening Sale of Impressionist and Modern Art on May 4th in New York. The painting, Nude, Green Leaves, and Bust (above) dated 1932, is from the Collection of Mrs. Sidney F. Brody of real estate fame. The Brody collection boasts a wealth of master works by the "towering figures of the Modernist movement", including Picasso, Henri Matisse, Alberto Giacometti, Georges Braque, Edouard Vuillard, Marino Marini, and Henry Moore. The total value of the works to be offered is expected to exceed $150 million, making it one of the most valuable single-owner collections ever offered at auction.

Other standouts from the sale include Matisse's Nu au coussin bleu, 1924, estimated at $20–30 million, and Giacometti's Grande tête mince, 1954, estimated at $25–35 million. The Brodys acquired the Picasso direct from the artist's dealers in the 1950s and made it the focal point of their expanding collection at their mansion in Holmby Hills. The painting has only been exhibited once in the United States, when the Brodys loaned it to the 1961 exhibition Bonne Fête Monsieur Picasso, a retrospective staged in honor of Picasso's 80th birthday that was sponsored by the UCLA Art Council. The upcoming sale preview on April 30 marks the first time in 50 years the work will be publicly displayed.

Seven lots fetched more than $1 million at the last Sotheby's auctions in Hong Kong, led by Liu Ye's acrylic and oil "Bright Road," which sold for more than $2.5 million. This was the top take for a Chinese contemporary artist in two years, indicating that Chinese art is on its way back to levels we haven't seen since the financial crisis. Last year, similar pieces were moving for only a third of this year's pricing.

According to Eric Huang, an art dealer based in Taipei, "Demand for the best Chinese contemporary artworks is back." Huang continued in his interview with Bloomberg News, "Don't be surprised to see prices match or even beat pre-crisis levels very soon."

Chinese contemporary art prices plunged 70 percent from May 2008 highs, due in large part to the financial catastrophe that rocked every financial center around the world. Already, the Sotheby's action has been good for HK$316.8 million and another HK$50 million from its wine auction.

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 Christie's agrees with me (or, I agree with Christie's): the art market is going to recover this year. The auction house, which is bringing some powerful inventory under the gavel at its contemporary art sale next month, expects the market to recover this year. With the improvement in conditions, price guarantees may return, as well.

In 2009, Christie's states, sales fell to 2.1 billion pounds, a decline of 24%. For the contemporary category, which was hit worst by the art market slump, sales dropped 59% to 244.3 million pounds -- in 2007, it only took a handful of pieces to get up to this amount.

According to Edward Dolman, chief executive of Christie's, "These figures were much better than we expected." He observed to Bloomberg News, "The art market is vulnerable and we thought we'd be down 50 percent, as we were in the last recession in 1991." Christie's, along with the other major house, Sotheby's, were able to compensate for weakness in contemporary art with sales of Old Masters, wine and jewelry. Also, performance in Asia contributed to the salvaging of 2009, where average selling rates by lot gained 5% to 80% in 2009.

The Old Masters group gained 1% last year, one of only four categories to show an up-tick in 2009. The best performer, however, was the 20th Century Decorative Arts category, which posted a 149% increase, helped along by the 21.9 million euros paid for an Eileen Gray chair at the record-setting Yves Saint Laurent sale.

British painter Lucian Freud's Self-Portrait with a Black Eye, painted in 1978, headlines an impressive collection of work on offer during Sotheby's Contemporary Art auction in London on Feb.10. The brilliant artist's extremely rare self-portrait, never previously exhibited in public, is expected to fetch up to $6.5 million and is one of five Freud paintings crossing the block during this event. Also on offer are Willem de Kooning's key late work Untitled XIV, painted in 1983 and estimated at $3.25 million - $4.29 million; the monumental Abstraktes Bild from 1988 by Gerhard Richter, estimated at $3.25 million - $4.8 million; and Andy Warhol's Jackie from 1964, one of the artist's best known portraits of the famed first lady, estimated at $1.3 million - $2 million.

The first decade of the new millennium was the domain of Latin America, Asia, Turkey and Russia. A robust art market emerged in the Middle East, which brought with it plenty of interest in the region's artist. But, what about Africa? The continent has been underrepresented in galleries and at auction, but it looks like collectors eager to try something new may be developing an appetite for African art.

The region's offering is both large and incredibly diversified, according to a report by Artprice, and over the past 20 years, several African artists have been able to garner some attention at international art fairs and major exhibitions. Pieces have been featured sporadically, with a show at the Centre Pompidou in Paris in 1989 and anther two years later at the New Museum of Contemporary Art in New York. The Africa Remix exhibition toured from 2004 to 2007 ... and that's about it.

There's been a bit more action in the auction market, with Sotheby's becoming the first major house to sell contemporary African art in June 1999, when it sent the Jean Pigozzi collection under the gavel in London. It generated less than $16,000 but still set a record. Since then, Sotheby's hasn't dedicated any London or New York sales to African art (aside from its work with South African auctioneer, Stephan Welz & Co). Bonhams has taken more of an interest in the category, holding an African art sale back in April and moving 64 percent of the lots offered.

Surrealist, modern and postwar pieces will go under the gavel next week at the Christie's Impressioniste et Moderne auction in Paris. More than 140 lots will be offered on December 1, 2009, with presale estimates ranging from $6 million to $9 million. Among the artists represented in the auction, which consists of the Lefebvre-Foinet collection, are Alberto Giacometti, Max Ernst, Henri Matisse and Zao Wou-Ki. The collection was amassed over five generations, with the latest in the family making the decision to sell.

A portrait of Maurice Lefebvre by Giacometti could fetch between $1 million and $1.5 million, but other lots are more attainable. "Lyrical Explosion C," by Alberto Magnelli, is expected to sell for $210,000 to $270,000, and Sonia Delaunay's "Colored Rhythms No. 615" could go for up to $160,000. Playing on the success of the market for Chinese art, Zao Wou-Ki's "5.11.64" could move for as much as $600,000.

Paris has done pretty well through the art market slump, especially when the auctions deviate at least somewhat from the norm. Though there aren't any guarantees, let's keep an eye on this one. It could be the touch of fresh air we need.

[Photo via Christie's]

The hint of a recovery we got in the first half of 2009 has fallen off a bit,according to Art Price's Art Market Confidence Index. The latest report suggests that art prices have dropped 37 percent since January 1, 2008, when the art market first showed signs of weakness. But, there are some indications that it's headed in the right direction over all. Art Price does state that the third quarter is almost always weak. Only 12 percent of auction lots sold during all third quarters over the past decade, and low sales volumes tend to mean low prices.

The art market appears to have hit its worst point in the first quarter of this year, when art prices were down 38 percent over the previous 15 months. Values plunged to 2004 levels, and spectators figured that conditions would only get worse. Prices edged up 1.2 percent after the first quarter, but a slow summer didn't yield any real progress.

Art Price sees the November results as promising, with seasonally adjusted growth for the Post-War period up 2.1 percent since March and the Old Masters picking up 4.5 percent. And, for the past two quarters, only 38 percent of lots failed to sell, and it looks like October and November will stay consistent with that result.

More than anything else, the numbers suggest that confidence is increasing -- which is the first step in a recovery.

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.