contemporaryart

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.

On Nov. 10 Christie's in New York will auction off an epic 15-ft. wide Jean-Michel Basquiat painting as part of its Post-War and Contemporary Art sale. The painting is expected to fetch up to $12 million. Brother Sausage (detail above), painted in 1983 and featured on the cover of Basquiat's catalogue raisonné, is a cartoon strip-like composition of six panels hinged together to form a narrative frieze of multiple drawings and Xeroxed overlays, each laden with themes of racial inequality and prejudice, wealth and corporate greed in a fame and consumer-obsessed American. Christie's notes the work is "steeped in Basquiat's signature style, raw energy and ingenious, loaded layering," exemplifying the artist at the pinnacle of his career. Also included in the auction are Andy Warhol's Tunafish Disaster, painted in 1963 and estimated at $6 - $8 million; and Jeff Koons' Large Vase of Flowers from 1991, estimated at $4 - $6 million.

[via JustLuxe]

"Flesh was the reason oil painting was invented," proclaimed Dutch-born painter Willem de Kooning in 1950. It's no secret the influence women had in his work or in his success. In the early 1950s de Kooning began experimenting with the female form and landscapes, until the two subjects became inseparable. His painting Woman I launched him into overnight stardom when it was exhibited in New York in 1953.

Bonhams New York is presenting a rare work from 1965 that stems out of this period, Woman in a Landscape, in their upcoming Contemporary and Modern Art Sale. The painting builds on his previous work, but also reveals later influences such as contemporary Hollywood stars and Mesopotamian fertility goddesses. While de Kooning's own inner demons are clearly present in this work, it remains one of his gentler, more romantic portraits of the female sex. The fully-executed painting is rare for this period of de Kooning's work, and is thought to be a study for his 1966-67 painting, The Visit, which is housed in the Tate collection.

Woman in a Landscape is estimated at $400,000-$600,000.

The public is invited for a pre-sale viewing and reception of all works in the sale:
Monday Nov 9th 6-8 PM
Bonhams
580 Madison Avenue
New York, NY 10022

Sale takes place November 10th at 12 PM.

For more information visit Bonhams.com/contemporary.

Five years ago, contemporary art collector Frieder Burda opened a museum right in the heart of Baden Baden, Germany. As one of the world's original resort towns, tradition tends to trumps trendiness in Baden Baden, and this museum, in a building designed by Richard Meier, and the modern and contemporary art exhibits on offer, definitely set tongues a-wagging in town. When I visited this past Spring, the Burda museum was in the midst of an atypical show of 18th century art, including seven giant tapestries. I'd assumed that regular museum goers might be upset about the turn away from contemporary art, but was assured by a local that response was more like relief.

Short-lived, I suppose, since the Burda museum returned to its modern and contemporary art mission. Still horizons have been stretched, five years have passed, and more than a million visitors have passed through the museum's door, Now until November 8th, the museum is exhibiting "Blue Rider" movement paintings, which were first exhibited in early 20th century Munich. (These paintings are usually at the Lenbachhaus in Munich, which is now under renovation. See a few of the works on display in the gallery below.) Next up, starting on November 21st, is an exhibit of the work of German artist Georg Baselitz. The artist himself is involved in the curation of the exhibit, which will be shared with Baden Baden's museum Staatliche Kunsthalle. The Burda will exhibit Baselitz paintings, the Staatliche Kunsthalle will exhibit Baseltiz's sculpture.

The Frieze Art Fair previews in less than a week, and London's art market players are looking to make a splash. While it's unlikely that the prestigious and well-attended event will single-handedly undo 12 months of carnage, hopes are high that it will be a turning point. Frieze is the largest art fair in Europe that's dedicated to the contemporary space.

The preview will be held on October 14, 2009, and 165 galleries will be courting the wealthy collectors expected to be in attendance – up from 151 galleries in 2008. Twenty-eight art galleries left from last year, so Frieze had to find a considerable number of new participants to make up the difference and then come out ahead.

The fair is coming on the heels of a year in which auction sales are down 70 percent to 80 percent and prices for works by many major artists are down by half.

In one of the grandest gestures the market has seen since the slump began, Gerard Faggionato, a dealer from London, will be putting Francis Bacon's "Study from the Human Body after Muybridge" up for sale at a price of $9 million. This isn't exactly what Bacon's work used to fetch, but it's still a steep price in a depressed market. Faggionato represents Bacon's estate, which is the seller.

The painting shown at right, Bacon's ' Study for the Portrait of Michel Leiris ' is being shown as part of the exhibition 'Caravaggio and Bacon' at the Borghese museum in Rome.

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.

Gap founders Donald and Doris Fisher have finally found a home for their art collection. The pair spent years trying to build their own museum in San Francisco's Presidio but dropped those plans after facing major opposition from residents and city officials. Instead the large collection of contemporary art will have a home at the San Francisco Museum of Modern Art.

It's a huge get for the museum, the collection is a 1,100-piece assortment of works by 185 contemporary artists with many fine pieces from Alexander Calder, Roy Lichtenstein, Chuck Close and Andy Warhol and could be worth nearly $1 billion. Donald Fisher released a written statement that said in part: "San Francisco is where we raised our family and opened our first Gap store, and we want to give back to the city we love by sharing the art that means so much to us."

The museum is already in the planning phase for a major expansion and the Fisher Collection will be on display in a new wing. Works from the collection will be shown with the museum's existing holdings in modern and contemporary art. The works will go into an art trust and the pieces will be on loan to the museum for 25 years. The first peek at the art will come next summer when some of the works are shown as part of the museum's 75th anniversary celebration.

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.

Do you like contemporary art? A new study suggests that's because you've developed an emotional connection to it. If you prefer older pieces, on the other hand, your response is intellectual. The findings, published in Psychology of Aesthetics, Creativity and the Arts, from the University of Rome was based on 137 people who attended to local museums in Rome: the Braschi, which is home to pieces created through the middle of the nineteenth century, and the National Gallery of Modern and Contemporary Art. Essentially, how you feel about a piece is based largely on when it was created.

Both groups – the emotive and intellectual – stated that their reason for going to the museums was "an interest in the artists" and the opportunity to "see the artworks in the original." But, those opting for the National Gallery frequently responded that they enjoyed "the pleasure they feel during their visit," while those going to the Braschi cited a "desire for cultural enrichment."

Is it as simple as "modern art is to be enjoyed and the classics are to be appreciated?" It sure seems that way, as the response by those hitting the Braschi seem to equate it to taking the stairs rather than an elevator – it feels good because it's good for you. That said, there's no doubt that intellectual stimulation feels fantastic, so oversimplifying the reaction as some form of self-betterment is probably a tad unfair, especially since participants in both groups had high scores for "openness to new experience." The modern art lovers, though, did tend to lean toward "sensation-seeking."

The demographic breakdown is pretty interesting, as well. Most of the participants were women, and all generally had similar levels of education. But, those preferring the National Gallery were 10 years younger, on average, than those gravitating toward the classics.

[Photo by Steve Ferdman, Bauzen Studios]

The Art Price Global Index suggests that the art market started to turn at the middle of the year, but it's going to take the autumn art season to confirm whether this is a false positive or the start of a new trend. Maybe the slight improvements in economic conditions are leading to more art market confidence (and spending), or perhaps they're just sick to death of being in a slump.

Art prices increased by 4.97 percent at the end of the second quarter, according to the Art Price Global Index. This comes after the index fell a total of 30 percent from the start of 2008. The collective will of art collectors, dealers and auctioneers probably won't be enough to change the art world, but it could happen at the same time. The Art Market Confidence Index gained 20 points during the second quarter, supporting the notion that we're all ready for this to be over.

It was still a tough quarter for Post-War and Contemporary artwork, which saw prices drop nine percent and four percent, respectively. But, the rest of the art market has fared better, thanks in large part to the increase in the number of affordable works brought under the gavel. So far this year, 79 percent of pieces sold for less than €5,000, up from 73 percent in 2008. Paintings and multiples declined, as well, by 31 percent and 41 percent, respectively, since 2008. With 4 percent and 5 percent price drops in the second quarter of 2009, their prices have returned to 2004 levels.

But, the summer's pretty quiet for the art market. We won't be able to confirm a recovery until the fall auction season begins. Then, we'll know if wallets are ready to be opened and stay that way for a while.