Showing posts with label Art Investment. Show all posts
Showing posts with label Art Investment. Show all posts

Saturday, January 26, 2013

The $100 million paintings








Would you pay more than $100 million for an artwork? Well most of us would not, the primary reason being that, most of us would not be able to afford it. However, it is quite intriguing to learn what goes through the mind of people who spend millions on an artwork.

Let us look at it this way, for a Multibillionaire spending $100 million is not a big deal, its less than 10% of the person’s total wealth. Most probably, such people have already exhausted all the different investment avenues and have turned to art. There are corporate houses that acquire art as an investment that also helps in creating a pleasant work atmosphere. Art, although a (very) long investment, can yield excellent returns, if you have the patience.

Below given are some of the unbelievable and surreal prices paid for art in the 21st century:

Andy Warhol’s ‘No.5, 1948’ claimed the highest value for a painting auctioned at $140 million in 2006

• Gustav Klimt’s ‘Portrait of Adele Bloch-Bauer I’ sold for $135 million in the year 2006

• Edvard Munch’s ‘The Scream’ sold for $119.9 million at Sotheby’s New York in May 2011.

• Pablo Picasso’s ‘Nude, Green Leaves and Bust’ sold for $106.5 million Christie’s in New York in 2010

• Picasso’s ‘Boy with a Pipe’ raised $104.2 million at auction in 2004

• Albert Giacometti’s ‘L’Homme Qui Marche’ reached $102.7 million when it was sold in 2010 (Sculpture)

• Andy Warhol’s silk screen printing of Elvis, called ‘Eight Elvises’ was auctioned for $100 million in 2009

If you noticed, I have limited the paintings to the minimum price of $100 million. There are many more paintings from the masters in the range of $50-$100 million dollars.

Imagine this, most of us fuss over a painting that costs $10,000. Life is not fair, but I guess most people need to settle for paintings in the affordable ranges. Some of these can be a very good investment. Important tip, in this category the investors better like what they buy, as its going to be with them for a long long time.

For the ones who like it, it could be a pleasurable hobby and investment. The art market will grow once we are over the recession cliff. So my advice is to buy contemporary art while the prices are low.

Happy Art Investing….in 2013



Interesting Links:

List of the world’s most expensive paintings

Friday, October 19, 2012

Profit OR Pleasure? Exploring the motivations behind Treasure Trends




Here's an interesting article on investing in so called collectibles like Art, Wine etc. Enjoy

In May 2012, a version of Edvard Munch’s The Scream, sold for a record USD$120 million at Sotheby’s in New York1 after a period of bidding lasting just 12 minutes. It joined one of only a handful of paintings that have exceeded the USD$100 million mark, including Picasso’s Nude, Green Leaves and Bust, which sold for USD$106 million.

The world of collectibles thrives on such fairytales. Stories of investors who bought paintings, wine collections or antiques for a song and then sold them years later for millions abound in the popular media. In 2011, a painting by Roy Lichtenstein sold for almost USD$40 million. Thirteen years previously, its owner purchased the artwork for just USD$2 million. Also in 2011, Gimcrack on Newmarket Heath by George Stubbs sold in London for GBP£22.4 million (USD$36 million), which was amongst the top five highest prices ever paid for an Old Master at auction. The painting had been previously purchased in 1951 for GBP£12,500 (USD$20,000).

These stories of exponential growth understandably stoke investor interest in the world of collectibles. With traditional financial markets still highly volatile and interest rates at record lows, the possibility that art, wine, antiques and other collectibles could earn handsome return that is uncorrelated with broader financial markets is certainly alluring. Add to that a post-crisis mistrust of esoteric financial instruments, and a perception that tangible, scarce and non-fungible investments could provide a stable store of value in uncertain times, and it is no wonder that a growing number of investors have increased their exposure to art, wine and other collectibles.

For today’s wealthy investor, acquiring and holding collectibles is akin to building a store of treasure. The rationale for accumulating this treasure can vary considerably. First and foremost, wealthy individuals acquire treasure because they enjoy it. It may give the man emotional or aesthetic pleasure, or be an interest that they want to share and discuss with friends. They maybe passionate and extremely knowledgeable about art, antiques or sculpture. They may enjoy exhibiting it in museums, or basking in the status that the ownership of a rare and beautiful item can bring. These are perfectly legitimate reasons for accumulating treasure, and these personal holdings can rightly form an important part of any individual’s total wealth.

Gaining access to the market for collectibles, or treasure assets, is now easier than ever. The Internet has opened up the auction process, enabling collectors more easily to bid for and acquire objects anywhere in the world. Collectibles now increasingly share the characteristics of broader financial markets. There are market indices and specialist funds, which enable individuals to invest in art, wine or other treasure assets indirectly. There are even asset-backed financing products that enable collectors to borrow against their treasure assets.

This combination of increased investor interest and more robust market infrastructure has led to a surge in activity across a wide range of different treasure assets. According to Art price, 2011 was the best ever year forsakes of art at auction. Auction house Christie’s had bumper year, with sales up 9% over the previous year to a record USD$5.7 billion. Rival Sotheby’s did even better, with a 21% increase in annual sales to USD$5.8 billion.

Boom times for auction houses however do not automatically translate into strong returns for investors. Collectibles markets are riddled with inefficiencies, are frequently opaque and illiquid, and are extremely volatile and risky. They involve high transaction, storage, insurance and appraisal costs. Appreciation in value can also incur a higher tax burden in some jurisdictions, such as the U.S. Some categories of treasure are also highly susceptible to vagaries in fashion, which can cause prices to fall as dramatically as they have risen. Of course, for many collectors the cost and financial risk of treasure are irrelevant given the intellectual stimulation and aesthetic pleasure it brings to them. But when acquiring such assets primarily for their financial benefits, extreme caution is essential. It has long been known that investors in equities and other financial asset classes can be susceptible to a host of cognitive biases that make it difficult for them to make rational decisions. With art, wine and other treasure assets, these biases can be even more pronounced. When buying a painting, for example, collectors can all too easily let their heart rule their head. The emotional and social attachment to treasure means that investors are extremely likely to make sub-optimal decisions about when to buy, sell or how much to pay.

In this report, we examine the financial and emotional motivations for holding treasure assets, and explore how they should be treated in the context of an individual’s total wealth. We look at recent trends in key collectibles markets, and assess the risks and behavioural biases associated with holding treasure as part of a broader financial portfolio. At a time when investors continue to be concerned about financial markets, tangible assets, such as art and antiques, hold strong appeal. But as we argue, they should primarily be held for the pleasure they bring, rather than any potential financial benefits.

Originally published in "Wealth Insights" from Barclayswealth.com


Wednesday, March 21, 2012

Fall in art prices – artists follow the affordable art route






The market in 2011 has not been very favourable for Indian art. After the euphoria that existed in 2006, the prices of Indian artists have mellowed down. Both modern and contemporary artists have shown a falling trend. For instance, there has been a 20% drop in price of Raza’s paintings (source: Art trust).
Artists however have adopted a new strategy to make sure that their art is still affordable to the public. There is a noticeable two-fold strategy they are following:

Artist are creating smaller format works and reducing their per square feet prices a bit. The combination makes sure the works are affordable and does not hurt their overall market price (in terms of square feet).

The other strategy to provide the public with affordable art is to move to the use of pen / pencil mediums rather than acrylic or oil as they can justify the lower prices. Most of these are done on paper, which again is a relatively inexpensive material.

This is a win-win situation and a quite innovative one at that. Art lovers get to buy their favourite and/or renowned artists at lower rates than the usual canvases. This also makes art more affordable to a larger base and helps bring in new collectors wanting to possess an artwork. On the other hand, this strategy helps the artist increase their fan base and keep their tillers ringing. It also encourages innovation in their works in terms of subjects.

I think now is the time to make purchases of renowned artists, as they may not be this affordable a time later. It’s a good chance to possess some previously unaffordable signatures and names.

Thursday, December 8, 2011

Masters and the economics of art



When Syed Haider Raza moved home from Paris to Delhi last December, it was a monumental decision for him. Personally, it meant the artist was giving up a city that had made him an internationally recognised artist.


Professionally, the only surviving member of the four top-selling masters of modern Indian art was shifting back to the land of his inspiration at a time when the other great of this quartet, MF Husain (1915-2011 ), had quit the country due to controversies.

Art watchers know well that any movement in the lives of Husain and Raza always came loaded with possibilities as the two, along with FN Souza (1924-2002 ) and Tyeb Mehta (1925-2009 ), commanded - and continue to command - 50-60 per cent of the total Indian art market.


Though there is no established monitor for Indian art - with the field relying mostly on independent estimates by various agencies - a majority of the experts agrees that the Big Four hold more than half of the total market. The market itself is valued at anywhere from $100 million to $ 400 million (roughly Rs 1000-1600 crore).

This is, however, a finite market, as Husain, Souza and Mehta have passed away. Mehta, anyway, was not a prolific painter and created only about 200 canvases in his lifetime though it was his 'Mahishasura' that had first crossed the million dollar mark when it fetched $1.54 million at a Christie's auction in September 2005. Husain and Souza were productive but the frequency with which their canvases will come into the market will depend on the collectors who hold them.

True to form, in less than a year after his shift from Paris, Raza mounted an exhibition of his latest works, 'Punaraagaman' (Return), in Delhi recently. Given the gestation period that each painting has to go through before it becomes hot property, the paintings may not immediately set the auction world afire. But they are important in a market that is beginning to expand beyond Mumbai, Delhi and overseas where 90 per cent of it is located.

Ashish Anand of Delhi Art Gallery, who had hosted the most ambitious show of the Progressive Artists earlier this year (Souza, Husain and Raza were founder members of this group and had blazed a trail by giving an Indian identity to modern art), says, "An established collector would aim for paintings from Raza's best phase from the past. But for those who have just got acquainted with art and want to possess one of the top signatures, these new paintings are important as older Raza paintings don't come up easily in the market. That's significant for Indian market if it wants to expand."

The Indian art market that has come under sharp focus ever since it started growing rapidly in the early years of the last decade is highly lopsided - the collector base is of just about 500, largely located in two cities. That's ridiculous if it wants to make a dent internationally like China has done. The Chinese art market is 40 times that of India's.

If the market has to grow, it will soon have to expand base to newer territories. Art watchers hope that as Tier II and III cities acquire more money power, art will find takers beyond Mumbai and Delhi. Sapna Kar of the India Art Collective initiative, whose online art fair, the first in the country, concluded last evening, says, "I have received queries from Hyderabad, Surat and Gaya. The database of Indian collectors is not more than 500 in number. How much art will an individual consume? A big chunk of the future of Indian art lies in smaller cities where the people have the money to buy art but no exposure yet." Menaka Kumar-Shah, the Mumbai-based head of New York auction house Christies, cites the example of collectors in Coimbatore who are beginning to set up art institutions.

Another big push that Indian art would soon need is in the form of non-Indian foreign buyers. Dr Hugo Weihe, who heads the Indian and Southeast Asian Art department at Christies, New York, says, "At one of our sales last year, a Husain canvas was picked up by a non-Indian American buyer for $1 million plus, and there is a lot of interest in Indian art by Chinese and Indonesian buyers at our ongoing Hong Kong sales. This curiosity will help Indian market to grow."
But even as the market grows and embraces new collectors, a demand for canvases by the big four continues to remain high because anybody with enough money to buy top-end art wants to own a Husain, a Raza, a Souza or a Mehta. The enduring popularity of the super sellers had even survived the recession with aplomb, taking a dip initially but recovering quickly. The November 2011 report on the state of the Indian art market by London-based analyst ArtTactic also says market experts remained strongly positive about modern Indian art though the overall ArtTactic Indian Art Market Confidence Indicator was down by 28 per cent from April 2011 due to a drop in confidence in the Indian economy by 69 per cent.


Maithili Parekh, director, Sotheby's India, says that it is the historicity of modern masters - a term that would also include, besides the top four, artists like Jamini Roy, the Tagores, VS Gaitonde, Akbar Padamsee, Ram Kumar and a few others - that makes them so attractive. "They forged a new identity for Indian art with their path-breaking work when a newly independent India was seeking its own identity. They captured the strong political and social influences of the time beautifully," says Parekh. Arun Vadehra, Christie's consultant in India who also heads the Delhi-based Vadehra Art Gallery (and host of Raza's latest exhibition), adds that buying a canvas by a top-end modern master is like buying "a piece of history."

As Published in the Times of India

Profile of S.H Raza

Thursday, November 5, 2009

Guide to investing in art - How do I choose the right artist?





There are primarily 2 ways in which one could invest in Art:
1. Investing in individual pieces of art work similar to buying shares of a particular company or
2. Investing in an Art Fund which is similar to investing in a mutual fund, where there is no possession of the art work

This article discusses what we need to look for while investing in Individual artists and artworks.

Like the stock market, there are some key attributes that you should be aware of before buying an artwork. The artist is the brand (like a company) and the products are the artworks he produces, therefore it is pertinent that one invests in a good artist. How to judge whether an artist is good? Here is a check list of factors that you can use:

1. How famous is the artist? – A little bit of research will let you know who the well bought artists are, who the emerging artists are and the ones that are promising starters. You need to make the decision between these different categories of artists. For the very famous ones, your budget needs to be higher than for a promising star, which may have high appreciation potential.

2. What is the artist’s training background, is he/she from a famous art school? – did he/she train under a famous artist? – Most galleries have a bias against self-taught artists (the artists who do not have a formal education), but this doesn’t mean there are no talented self taught artists – MF Hussain, Bhupen Khakhar are the most prominent ones.

3. How many shows or exhibitions has the artist done in the past and in which galleries? – The more the better, since galleries only host artists that they think will sell well.

4. How long has the artist been painting? - The longer the better, as style and technique matures over the years, with experience.

5. The number of awards and accolades won by the artist – Awards and accolades given by recognized national and international art institutions.

6. The workshops and other learning events attended – Workshops help an artist learn and grow in creativity, technique and outlook.

7. The number of international shows exhibitions – International shows and exhibitions proves that the artist is not only a good artist but also a good PR person, which is important to sell art.

8. Find out whether reputed art institutions like museums, organizations have the artist’s work in their collection.

9. Does the artist have a unique style – This can be found from reviews written on the artist or by comparing his works to others

10. But the most important question is DO YOU LIKE THE ARTWORK, because it will be hanging on your wall for sometime.
The above checklist should help you select a good artist for the purpose of investment.

Tips

• It is best to acquaint yourself with the art scene before making a decision to purchase a piece. It is advisable to visit art shows, galleries and use the internet to read reviews and article on art.

•All galleries have artist biographies on their websites, which provide most of the information needed as above. Some sample biographies :
o CF John / Asma Menon / Yashwant Shirwadkar

• In the event of purchasing, please make sure to get an authenticity certificate – preferably from the artist himself.

Happy Art Investing !

Above : An untitled portrait by TM Azis