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Christie's and Sotheby's aren't being shy with the Old Masters. Pieces by Rembrandt, Raphael and Van Dyck are being offered at hefty prices, some records, that could bring in up to $133 million. If this happens, art collectors will have doubled last year's result ... and cast a strong vote in favor of an art market recovery.

The Christie's sale on Tuesday will include a portrait by Rembrandt and a sketch by Raphael. They are being estimated at 18 million pounds and 12 million pounds, respectively. According to Christie's, these are the highest estimates seen at auction, says Bloomberg News. The Sotheby's sale occurs on Tuesday, featuring a Van Dyck portrait that could fetch as much as 3 million pounds.

Unlike the volatile market for contemporary art, prices for the Old Masters have been relatively stable, as the supply is diminishing and demand is increasing.

According to Johnny van Haeften, an art dealer based in London, told Bloomberg News, "Prices at auction are very strong because there isn't much out there." He continues, "People don't want to sell at the moment. They're saying, 'If I let a painting go, where do I put the money? I'd rather keep it in a work of art.'" He bid unsuccessfully for two still life pieces by 17th century Dutch painter Adriaen Coorte. Both ultimately sold for more than 10 times their high-end presale estimates.

[Photo via Christie's]

"Alexander watching Apelles painting Campaspe," a long-lost work by French artist Jacques-Louis David is set to go under the gavel at Sotheby's on July 8. The piece was unveiled publicly for the first time in 84 years yesterday in New York in anticipation of the London auction next month. At the Old Master Drawings sale, David's work is expected to go for approximately $1.2 million.

David did not produce many elaborate drawings on the scale of "Alexander," which will put the ultimate winner in exclusive company. The work was originally given by David to Baron Gros, his favorite student, in 1820. Since then, it has only been held in private collections, with no public visibility.

Hoping to draw some momentum from the recent success at Christie's – and the auctioning of this unique piece, Sotheby's expects a strong showing at the London auction.

Christie's fought the trend and walked away with close to $94 million. Naysayers stand shocked (I'll admit it; I'm among them). This is still far from the record-setting years leading up to the current financial crisis, but only the truly stubborn would not recognize the accomplishment of coming close to the upper end of the auction house's estimate, particularly a day after competitor Sotheby's turned in such a dismal performance.

The initial estimate for Christie's Post-War and Contemporary Evening Sale was $71.5 million to $104.5 million. Forty-nine of the 54 available lots were sold – a sales rate of 91 percent by lot and 94 percent by value. This easily tops the 81 percent by lot that Sotheby's hit (en route to a paltry $47 million). Thirty of the lots sold for more than $1 million each, and nine raked in more than $3 million a piece.

If you want to be negative, though, you still have plenty of ammo. Back in November, Christie's achieved a $113.6 million take with a sale rate of only 68 percent (by lot). A year ago, the auction house pulled in $331.4 million at a sale rate of 95 percent.

But, last May doesn't count. That was a last hurrah, of sorts, and most in the art community realized it, even if they wouldn't concede the obvious.

At last night's contemporary art auction, Sotheby's brought in a meager $47 million – down 87 percent from last year's record of $315 million. The auction house wasn't even able to reach its low estimate for this year of $51.8million. Need some perspective? Last year's Francis Bacon triptych sold for 84 percent more (at $86.3 million) than all the lots purchased at last night's event.

The top sale last night was a blue and pink egg by Jeff Koons, measuring seven feet in width. At $5.5 million, it didn't even reach its estimate, which ranged from $6 million to $8 million. Last June, his pink "Balloon Flower (Magenta)" went for $25.7 million at a Christie's auction in London. Interestingly, art dealer Larry Gagosian was the buyer, though it's unclear if he bought it for himself or a client. Gagosian sold the egg back in 2004.

In general, buyers were in short supply, with most bidders choosing to remain on the sidelines. But, there is a sense that good works sold at fair prices ... unless you were one of the sellers, I imagine. Art market analysts, dealers and critics sought to find a silver lining, calling successes what would have been failures in previous years (such as the Koons egg price).

The shrinking pool of buyers reflected the artwork available. The number of lots offered at Sotheby's last night was down 42 percent, from 48 to 83. Only 81 percent – 39 – were sold.

Tonight, it's Christie's turn. Fifty-four contemporary pieces are set to come under the gavel, with total estimates ranging from $71.5 million to $104.5 million (not including commissions).

The only fingers not crossed, most likely, belong to bargain-hunters.

Economic conditions aren't so dismal that records can't be set. Sotheby's just moved a flawless, rare blue diamond for nearly $9.5 million – proving that taste can prevail even when wallets are generally gripped shut.

The rectangular blue diamond weighs 7.03 carats and sold at the highest price per carat ever fetched at auction – a whopping $1,349,752 (including the commission to Sotheby's). It's also the most paid for a "fancy vivid blue diamond" ... I didn't realize that such records were tracked. The winner chose to remain anonymous (can you blame him or her?) who was bidding by phone. The auctioned ended with a veritable telephonic battle that lasted 15 minutes.

The record until the blue diamond went under the gavel was $7.9 million for 6.04 carats. It was set in October 2007 in Hong Kong. Sotheby's sold the last record-breaker, as well.

In all, the auction house moved $35.7 million in gems and jewelry from 266 lots – not counting another 80 that didn't sell.

David Bennett, the chairman of Sotheby's jewelry department covering Europe and the Middle East, remarked, "It is fantastic in this market and shows that these rare things are very much in demand."

No, David. What's fantastic is that such items are in demand and that people are still willing to pay for them!

Art auction houses are looking to protect themselves. Lacking a local "enforcer" to find once eager collectors and shake them down for every last dollar, the likes of Sotheby's and Christie's will spend the coming fortnight managing expectations while trying to eke out a living. Atop the agenda this season is the notion of protecting price levels for Impressionist, modern and contemporary pieces.

Reality has struck.

Sotheby's has revealed a sales target of $179 million to $256 million for the spring. Last fall, the auction house hit $411 million – which is paltry compared to the $742 million take at this time last year. The showpiece now is "Baroque Egg with Bow," a sculpture by Jeff Koons, which carries a Sotheby's estimate of $6 million. While this sounds rich for today's market, the house almost quadrupled that amount with a sculpture from the same artist in 2007.

For those who haven't been keeping score, 2007 for the art world was like 1999 for technology people.

By reinforcing concern through modest estimates and carefully selected lots, the major (and smaller auction houses) are subtly positioning themselves for any unexpected support. A strong spring auction – as measured by current economic conditions – could cause global art market confidence to rebound. A turn for the worse, however, would be exacerbated by already depressed hopes.

"Russian" and "art" together used to mean "stratospheric prices paid." Not any more. Last week's Russian art auction results at Christie's and Sotheby''s showed the difference a year can make. Last year, the two houses brought in $64 million at the New York-based annual ritual. This year, the final take was only $27 million.

At the Christie's auction, the top-selling piece was Svetoslav Roerich's "Portrait of Nicholas Roerich in a Tibetan Robe" for $2.9 million – thus accounting for more than 10 percent of both houses' sales. It set a record for works by Roerich. The next best was by Nicholas Roerich himself. "The Greatest and Holiest of Tangla," a landscape of Tibetan snowcaps, brought in $1.4 million.

Efforts to repatriate Russian art, of which I first learned from Annika Larres at the Bukowskis auction house in Helsinki, seem to have slowed, due in large part to the loss of so many Russian billionaires over the past twelve months.

Overall, Christie's moved 69 percent of the 390 lots available for $13.2 million. The father/son Roerich team accounted for a third of that. The Sotheby's auction, last Wednesday, was good for $13.8 million, compared to $46.5 million in 2008.

One client is putting up a third of the take at the Christie's wine auction this weekend. A total of 613 lots are available, with one party accounting for than 200 of them. This seller is described only as a "wealthy New York family" (duh). For collectors, according to the auction house's spin, this is a great time to buy. Prices are falling, which means that there are plenty of bargains out there.

Apparently, there's some wisdom to this perspective. At the Sotheby's auction last weekend, bidders dropped more than $2.9 million on vino, thrashing a pre-auction estimate of only $1.8 million to $2.6 million. New buyers are coming into the market. At the Sotheby's auction, more than 20 percent of the bidders were new. Two weeks before that, Hart Davis Hart, of Chicago, moved nearly $2.7 million of liquid bliss, beating its presale mark of $2.4 million.

In a Reuters interview, wine consultant Judy Beardsall likens wine collecting and investing to gardening, "At a time like this, it's a chance to turn over the soil in the garden, put down some stock for the next generation."

But, if you aren't interested in waiting, all the wines put up for auction are fit for consumption ... for a price.

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.

You know it's rough out there when Sotheby's makes you pay for coffee. At its five-day Hong Kong auction, the house was able to move only $89 million in antiques (HK$691 million), paintings and gems – less than half the take for the same event in 2008. With bidders forced to HK$20 (which looks more menacing than the U.S. equivalent, $2.50), one can only hope that Sotheby's was able to make up the difference.

This is a far cry from the $227 million that sold a year ago.

Sensitive to the global financial crisis, Sotheby's planned ahead, offering fewer expensive lots, which tend to get a bit more bidder action when financial markets are struggling. A larger number of wine lots showed up, as the liquid flows more easily than canvas. All of the bottles moved at the first Sotheby's Hong Kong wine auction.

Despite the downturn in art prices, some feel that now is a good time to invest in the oldest of old media. Ian Kai, an art dealer based in Beijing, remarked for Bloomberg, "Governments are printing so much money now. Fine artworks might be a better way to store value than currency."

The highest-priced piece at the auction was "Fishing Harvest" by Lin Fengmian, which fetched a hair over $2 million. Most paintings sold for prices well below those of comparable works at last year's auctions. Heading into the Hong Kong auction, Sotheby's cut presale estimates by an average of 20 percent and expanded its offering to include video installations and other non-painting works.

And that could be the enduring benefit of this marketplace.

"We are now seeing conceptual art at Hong Kong auctions, which is fantastic," said Sandra Walters, a Hong Kong-based collector who runs a namesake art-consulting company.

A broader perspective will lead to future returns for artists, collectors and auction houses.