Indian Art comes to International Auction in over a decade

RAZA

On 19 March 2013, Sotheby’s is honored to present the Amaya Collection - the first international Evening Sale of Indian Art and the first single-owner sale in this category to be held at Sotheby’s in more than a decade. Consigned by esteemed collector and author, Amrita Jhaveri, the collection comprises important Modern & Contemporary Indian Art produced during the second half of the 20th Century through to the early 21st.

The sale offers some fine examples from the oeuvres of key artists, including highly sought-after and important works by 20th Century Modernist Masters Maqbool Fida Husain, Tyeb Mehta, Francis Newton Souza, Sayed Haider Raza, and  Vasudeo Gaitonde, many of which have been extensively published and exhibited internationally. The auction of 43 lots is estimated at approximately $5 - 7 million, and works will be exhibited in New Delhi, London and New York in advance of the sale. Proceeds from the sale will underwrite a project space and lecture room at Khoj International Artists’ Association in New Delhi. Amrita Jhaveri is also supporting museum initiatives in the collecting area of South Asian art by donating a work by sculptor Mrinalini Mukherjee to the Tate Modern.

The sale is led by Tyeb Mehta’s Untitled (est. $800,000/1.2 million, right) from 1982, produced during an important period in the artist’s career. Painted three years before the famous Santiniketan Triptych, the current work possesses a number of key parallels. In both works he used an unusually muted palette, and the androgynous figures are placed against a distinctive pastel blue ground. Mehta spent the early 1960s in London where he was exposed to the style of Francis Bacon, which greatly influenced his early works

Tyeb Mehta - Untitled

A further highlight is Rajasthan I (est. $600,000/800,000, top of page 1), a resplendent work by Sayed Haider Raza  from the  1980s which  brings together his influences from France and India  to represent an ultimate depiction of nature. This painting is from a period that represents his transgression towards total abstraction and is influenced by the Indian miniature tradition not just in composition but also in palette.

The 1962 painting, Untitled (est. $600,000/800,000, left) by Vasudeo S. Gaitonde, one of India’s most important modern abstract painters, was one of few canvases produced during his lifetime. His work was greatly influenced by the color techniques of Indian miniatures, the study of ancient scripts and Japanese Zen philosophy.

Puppet Dancers, MF Hussain

Painted in 1963, The Puppet Dancers (est. $200,000/300,000,) represents Maqbool  Fida  Husain’s  fascination  with  toys,  a  theme  that  he  developed during the 1940s and 1950s. While working at the Fantasy furniture company in   Bombay   in   the early 1940s to make ends meet, he began to design and paint children’s toys, which he cut from plywood and hand painted. Although Husain only produced the toys for a short period, his interest in the subject lived on. This composition is very similar to a 1950s preparatory sketch he produced for one of his plywood toys. A distinctive set of characters that he employed throughout his career are also seen in this piece: faceless woman, equine figure, tribhanga nude and mustachioed warrior

Additional Collection Highlights


Francis Newton Souza

The Cruxifixion, Souza

The Crucifixion  - Estimate $200/300,000
The Crucifixion is a powerful painting that represents Souza’s fascination with religion that continued throughout his career. This painting is one of his largest and most evocative portrayals of the subject.

Bhupen Khakhar
Satsang - Estimate $180/250,000

In Satsang, Khakar depicts a Hindu gathering with a group of male figures paying their respects. He has placed himself within the narrative, both seated amongst the seated figures to the right and at the rear of the primary standing figure in the foreground. Highly influenced by his time in London and his friendship with David Hockney and Sir Howard Hodgkin, Khakar combines the lush evocative scenery with hues relating to folk traditions.

Maqbool Fida Husain
The Horse that Looked Back - Estimate $100,000/150,000

Throughout his career, Husain has repeatedly represented the horse in his works, and they are depicted as wild symbols of power and raw energy. His interest in horses first began in his youth through religious stories relayed to him by his grandfather depicting the animal as both heroic and tragic. This 1963 composition was exhibited at the 2006 Asia House exhibition, M. F. Husain: Early Masterpieces 1950s – 70s.

Arpita Singh
Untitled - Estimate $80,000/120,000
Arpita Singh, one of the most important mid-generation female artists, often portrays the role of the female within contemporary Indian society in her humorous and disturbing paintings. Her subjects are drawn from family, friends, neighbors and everyday objects. Singh was greatly influenced by Marc Chagall, not just in palette and composition, but also in imagery.

Ram Kumar

Untitled  - Estimate $60,000/80,000
Untitled from 1959 belongs to Ram Kumar’s early figurative phase, which not only reflects his disillusionment with the monotony and anonymity of urban existence, but is also part of a larger commentary on the unrealized promises of Independence which had held hope for a better life for millions of Indians. The figures in these paintings are reminiscent of the forlorn characters he portrays in his novel, Ghar Bane Ghar Toote, which depict the isolated and despairing urbanites of India who feel constrained by the city itself, its vast faceless population and the poverty and decay that surround them.



Jogen Chowdhury
Ganesh with Crown Estimate - $40,000/60,000

Chowdhury’s subjects are usually rendered against a black background, their fluid contours tightened with cross- hatching and heightened with touches of color. This 1979 work is part of the Ganesha series that he produced during the end of his tenureship where he plays on the popular characterization of the elephant god. Ganesh with Crown was formerly in the Chester and Davida Herwitz collection and was exhibited at Museum of Modern Art, Oxford, in 1982

Women of Indian Art

Here is another one in the series of profiling top Indian artists. The first one I created was about the top selling (auction) Modern Artists of India. The second one is solely dedicated to the talent and brilliant Women of Indian Art. Here is the introduction, behind which there behind the scenes profile of each of them. The profiles explain their idiosyncracies, their styles, the evolution of their careers, etc.

Introduction to Woman of Indian Art

This feature is dedicated to the most accomplished and admirable women artists of India. Nowadays, women artist of India are treated on an equal platform with male artists, the respect given to the women artist are same..

This is however not always the case, back in the 40s, women were not put on the same pedestal as male artists, except for Amrita-Sher-gel who had her foreign descent and brazen attitude (& of course talent) to bolster her image among the artist community. It was in the 70s that the stature of women artists were elevated artist among the art community and patrons.

However, this feature portrays the women who made a difference in the art scene and were recognized for the art rather than gender. Great art has come out of the hands of women artists like Anjolie Ela Menon, Aprita Singh, Devayani Krishan , Asma Menon, Gogi Sarojpal and most famous of all Amrita Sher-gil.

Most of these artists had women subjects as their centre of inspiration – their portrayal of women were primarily to show the daily activities and travails they faced in society and there was no emphasis on sensuality of the subject. Many of them fought tradition to follow their passion of the arts.

We will be featuring more women artist in due time. You can read in detail about each artists life, idiosyncrasies and events that made them where they are today.
Read their profiles here

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

Indian art market confidence up

Indian art market confidence up by 10% in the last 6 months.

The overall ArtTactic Indian Art Market Confidence Indicator increased by 10% between May and October 2012, and is currently standing at 57 (up from 52).

The Confidence Indicator for the market remains unchanged at 71, while the confidence in the Contemporary Indian art market is up 12% from 39 to 44. Although still below the 50 level, the Expectation Indicator for the Indian Contemporary art market stands at 53, signalling a positive outlook for this market in the next 6 months.

For the Modern Indian market, 29% of the experts believe the market will go up in the next 6 months (compared to 30% in May 2012), 60% believe the market will remain flat (70% in May 2012), and 11% believe the market will fall back. Although 41% of the experts feel that the Indian Modern art market has recovered, or will do so within the next 12 months, 33% of the experts believe the market will need at least need two more years before a broader recovery will take place.

For the Contemporary Indian art market, 25% of the experts believe the market will go up (10% in May 2012), 52% believe the market will remain flat (down from 82% in May 2012) and 23% of the experts believe the market will fall (up from 8% in May 2012). This signals that a quarter of the experts believe the Indian contemporary art market will see a positive development in the next 6 months. With the Kochi Biennale in December 2012 and the India Art Fair taking place in February 2013, there are some major international events that could put the Indian contemporary art market back on collectors’ agendas in the months to come.

Also with the Chinese contemporary art market showing signs of slowing down considerably since Spring 2011, it is likely that collectors' attention will start to gradually shift elsewhere, and we believe Indian contemporary art will slowly start to regain some of the lost ground relative to its neighbours.


This article was originally published in ARTTACTIC - an online art research magazine
http://www.arttactic.com/item/524-indian-art-market-confidence-survey-november-2012.html?Itemid=102

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

Mahishasura - Tyeb Mehta's work may fetch £1.2-1.8m (Update - Mahishsura fetched £1.38 on 11th June 2012)

Mahishasura - Tyeb Mehta

THE SEASON of auctions in contemporary Indian art starts in London in June and the three main auction houses, Christie’s Sotheby’s and Bonhams, have major sales coming up in the first half of the month.
The highlight of the Christie’s auction of South Asian modern and contemporary art on June 11 is Tyeb Mehta’s Mahishasura, 1996, the most important painting from this groundbreaking series, estimated to sell for between £1.2 million and £1.8 million. A painting, Untitled (Figure on Rickshaw), by Mehta, who passed away in 2009, was sold for record price of £1.973 million at the Christie’s auction in London in June in 2011.

Mehta’s Mahishasura was the first Indian contemporary painting to have crossed the million-dollar barrier in 2005 when it was sold for nearly $1.6 million.

The Indian modern and contemporary artists do not command high prices in auctions compared to European artists — Norwegian artist Edvard Munch’s iconic pastel drawing, The Scream, made history in May as it was auctioned for $119.9 million by Sotheby’s in New York.

The Christie’s auction is also offering Cinq Sens, 1958, a quintessential work by M.F. Husain, which was formerly in the collection of the world renowned Italian filmmaker Roberto Rossellini and his Indian wife Sonali Dasgupta. The painting, estimated to sell for £400,000 - 500,000, was a gift from Husain to his friend, Rossellini, who left India with newfound love, awareness and creative consciousness. “Christie’s is delighted to be offering the seminal painting, Mahishasura, by Tyeb Mehta; one of the artist’s best and most iconic works to come to auction,” Yamini Mehta, director of South Asian modern and contemporary art at Christie’s, said.

“Heavily inspired by ancient mythology and Hindu literature, Mahishasura recounts the legend whereby the Brahmin demon-king Rambha produces an invincible son through his union with a she-buffalo,” Christie’s said.

The auction house also compared the Tyeb Mehta painting with Picasso’s Guernica. “Mehta fuses ancient imagery with simplicity of form, colour and line, resulting in powerfully modern works full of fresh vitality. Stylistic devices evident in the present work — such as the simultaneity of perspective and figures, the juxtaposition of linear and volumed representation, and varying frontal and profiled angles of vision — conjure images of Pablo Picasso’s pivotal work, Guernica. Just as Mehta was inspired by the bull, Picasso also regularly depicted multiple forms of the bull and most often the mythological creature, the Minotaur,” the auction house explained.

(As printed in The Asian Age )

Read more about the Modern Masters of Indian art - on how they became the auction house favourites

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.

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

What’s the secret behind the demand for the top Indian modern artists?

Indian modern art

S.H.Raza, F.N Souza, Tyeb Mehta, V.S.Gaitonde, M.F Husain, Amrita Shergil are the current auction house favourites of the Indian Modern art market. The paintings of these 5 artists form the top 10 most expensive Indian paintings sold till date.


How were these artists able to influence western art collectors and create a million dollar market for themselves? A careful look at their careers show that there are some common factors between them

One of the most uniting factors is that all the above artists except Amrita Shergil were part of the Progressive Artists Group. Infact F.N Souza, S.H Raza and M.F Husain were the founding members along with two other artists.

The Progressive artists group was founded in 1947, after the Indian independence, in Mumbai. It was formed as an antithetical movement to the nationalist style of art followed by the Bengal School of Art (the foremost art institution in Indian at the time of Independence). The Progressive Artists Group combined Indian subjects with post-impressionists style, cubism and expressionist styles. The group was a key influence on the way Indian art evolved from then.

The second factor that binds the Indian Modern Art favourites is that most of them either lived or worked in centres of western modern art like London, Paris or New York. The only exceptions were M.F Husian and V.S Gaitonde. Their works were influenced by the styles and techniques of the western artists.

S.H Raza graduated from the Ecole Nationale des Beaux-Arts, after which he lived in Paris with his wife. Amrita Shergil was born in Hungary and also graduated from the Ecole Nationale des Beaux-Arts and worked in Paris for 5 years before moving to India. F.N Souza and Tyeb Mehta spent a good part of their careers in New York and London.

One could assume that the combination of a style that the western art market is acquainted with and the exotic Indian subject could have made art collectors gravitate towards these artists. The western audience would have preferred styles that they were familiar when venturing into foreign territory.

The third common factor is that 4 of them, Husain, Gaitonde, Souza and Tyeb Mehta, are alumni of the JJ School of Arts in Mumbai and Raza and Shergil from the Ecole Nationale des Beaux-Arts in Paris.



"Well, I think we have a winning combination to pick Indian modern artists – progressive art group members who have extensive exposure to western art markets and alumni of either the JJ School of Arts or Ecole Nationale" ;-)

 

 

Arpita Singh's mural to create a new record in Indian art

ARPITA SINGHWish Dream, 2001, Oil on canvas, 287 x 159 in

NEW DELHI: The leading ladies of Indian art seem to be on a roll. Just five months after Bharti Kher's elephant sculpture fetched a record Rs 6.9 crore, Delhi artist Arpita Singh is set to establish a new high. The sale of her mural — estimated at Rs 8-10 crore — will make her the country's top-selling woman artist.

The 16-panel mural, an impressive 24 ft x 13 ft in size, will go under the hammer on December 9 at the Saffronart winter auction. Thus far, women artists were not in the all-male charmed circle of sky-high prices.

Both Kher and Singh are changing that. So in art, as in life, does gender matter? Not for the flamboyant Amrita Shergil , the first to reach the crore-mark, but then came a slump. Says Dinesh Vazirani of Saffronart, "During the era of the Moderns, male artists such as those from the Bombay Progressive group dominated the art scene."
In a way, it's fitting that Arpita Singh has turned the spotlight back on female artists. The unbeautiful middle-aged woman has always been a central figure in her paintings. "I begin by painting a figure and it turns out to be a woman," Singh said.

The work going on sale has two women as pivotal figures, both elevated to goddess-like beings that seem to hold together and direct the rest of the painting's diverse cast of characters and everyday objects.

Times of India 16 Novermber, 2010


Bharti Kher's Elephant

Affordable Art Market Picks UP



Untitled, R.B.Murari, 2010 -
coutresty Monsoon Canvas


The art market has had a spate of activities in the recent past with a lot more slated to happen in the next few months. Despite the increase in the number of events and exhibitions, sales in the primary market are yet to reach the levels seen prior to 2009.
However, there are indications that there is a rise in sales of art which can probably be categorised as 'affordable' and is in the range of Rs 20,000 to Rs 75,000. This segment is probably expanding and benefiting the most. Artworks by young contemporary artists, especially those who have created a niche for themselves in the last few years and have also sustained themselves through the period of recession, continues to find buyers.
This segment, although priced higher, is sustaining itself thanks to a loyal buyer base, and it is clear that the artists benefiting the most are those who have continued to focus on quality and have been less prolific than others. A recent survey of confidence levels in the art market which based its analysis on results from secondary sales and auction reports indicates that the strength shown earlier in the year was unable to sustain in the recent months.
According to the report, 'The Indian auction sales season failed to meet market expectations. The total auction value for modern and contemporary Indian art at Sotheby's, Christie's and Saffronart came in 20 percent below the low presale estimate'.
However, it goes on to clarify that a probable cause for this could be 'over-ambitious valuations' and 'lack of quality works' which may have put off buyers. But, the overall prognosis suggests that the market is levelling out after a period of recovery. Interestingly, although there is a marginal dip in the positive sentiment in the market, the report suggests a promising short-term outlook in the next six months, although the pace is likely to be slow.
 
Economic Times online 15 November 2010

Auction House Favourites of Indian Art

The Indian art market is predicted to touch the $1 Billion mark this year (2010). This is not much for the world art market but this is about a 10 fold growth for the Indian art market from the mid 90s. Read the profiles of the artists that is responsbile for this growth.


India, being slated as the next world power with a growth market has had its effects on the Indian art market too. In the recent years Indian Modern art has found favour with international collectors and investors. The increase in domestic affluence and in international interest in Indian art has given a substantial impetus to the Indian art market. The Indian Modern masters have evinced interest of the international art market and the growth has been quite phenomenal.

Of the $1 billion Indian art market, the modern artists contributed approximately 50-60 percent last year (2009). S.H.Raza, Tyeb Mehta, V.S.Gaitonde, M.F Husain, Amrita Shergil are the current auction house favourites of the Indian Modern art market. The paintings of these 5 artists form the top 10 most expensive Indian paintings sold.

S.H Raza’s Saurashtra has been the most expensive Indian painting auctioned. The painting was auctioned for $3.5 million by Christie’s in 2010. This is followed by F.N Souza’s ‘Birth’ sold for $2.5 million in 2006.

Here is a popular list of the top 5 most expensive Indian paintings ever sold. You will see that S.H Raza and F.N Souza dominate the list followed by Tyeb Mehta. (To see the top 10 images click here)

Saurashtra S.H Raza, $3.5m




Birth F.N Souza, $2.5m



La Terre, 73 S.H Raza, $2.45m

La Terre, 85 S.H.Raza $2m

Untitled Tyeb Mehta, $1.84

S.H.Raza sets another record in Indian Art

"Bharatiya Samaroh", S.H.Raza, 1998

S.H.Raza is currently the reigning king of the Indian Modern Art. His paintings seem to be a darling of investors in Indian and Asian art. His latest painting fetched an amount which is still unheard of for Indian art. Although his most expensvie painting was sold at $3 million.

Syed Haidar Raza, modern Indian painter, has fetched Rs 4.07 crore ($879,897)  for one of his earliest works "Bharatiya Samaroh" which topped the recent Saffronart's 2010 autumn online auction.


Held on September 9-10, the auction which offered a collection of 90 works by 43 modern and contemporary Indian artists, registered 70 percent sales grossing Rs 29 crores ($6,269,582), a tad short of the lowest total pre-sale estimate of Rs 29.5 crores ($6,377,687).

Influenced by European painters such as Cezanne, Van Gogh, Picasso and Gaugain, Raza had over the years created a style of his own. The "Bharatiya Samaroh", is one of his earliest and largest fractured geometric paintings which highlights distinct symbols in differently patterned squares coming together to form a whole construct.

His 1998 canvas fetched Rs 4.07 crore ($879,897) more than the expected higher estimate of Rs 3.72 crore ($8,042,373). Raza had previously in June this year set a world auction record for modern Indian art when his 1983 painting "Saurashtra" was sold at Christie's London for Rs 16,2387474.7 ($3,486,965).

It broke the previous record held by the master artist for "La Terre" which sold for Rs Rs 8.56 crore on June 30, 2008.

Corporate Art

RB Murari, 2010, Courtesy: Monsoon Canvas

Corporate Art – History and time line

Corporates as art collectors existed right from the 15th century. The Medici bank is said to be the first recorded corporate art collector. The Medici bank commanded respect and good reputation in whole of Europe and were promoters of art and architecture. The Medicis were responsible for sponsoring most of the Florentine art during their reign. There were other banking houses during the Renaissance period that collected art and displayed them in their corporate offices.

In the 19th and the early part of the 20th century art was mainly used as part of a company’s marketing strategy to attract customers and promote the companies brand name. This was art used in a commercial sense.

Around 1940s it became prestigious to support art and culture and multi national corporations like IBM and others supported art shows and events to establish their importance in the corporate world. This trend caught on and by 1980s there was a boom in corporate art purchases. By the late 1980s, it had become such a popular phenomenon that the majority of the Fortune 100 and a large number of the Fortune 500 companies collected and displayed art in their workplaces.

Deutsche Bank, Microsoft, Progressive Insurance, UBS are some of corporate that maintain a world famous collection of art. It is also to be noted that these collections are primarily focused towards contemporary art. After the Monarchy, the Church and the Nobility, corporates have become the new patrons of art.
With well over 1500 corporate collections around the world, described in the International Directory, it is a very important phenomenon in the art market. The corporate art buyers have over the years become a lot wiser and more knowledgeable about art.

Why do corporates invest in art?

There are several reasons for corporations to invest in art. Although pure financial investment is one of the reasons, it does not fall into the primary motive of investing in art. Corporations are more interested in enhancing their corporate image by developing and maintaining art collections, as part of Corporate Social Responsibility programs. The Corporates being the new patrons of art are shouldering the responsibility in promoting art and culture within the society they belong to.

But the fundamental reason that encourages corporate art collecting is the fact that there has been several studies that indicate an increase in productivity and work satisfaction among the employees. A survey conducted, quite some time a go by BCA (Business Committee for Arts), with more than 800 employees working for 32 companies throughout the United States showed that art in the workplace helps businesses address some key HR challenges like: reducing stress, increasing creativity and productivity, enhancing morale, broadening employee appreciation of diversity and encouraging discussions, and expression of opinions. Art at workplace also helps in enhancing customer and community relations by promoting networking opportunities.

Corporations however are not overlooking the capital appreciation that art could bring them. They pay reputed art consulting companies to select, organize and maintain their collections. Since the selection of the artwork has been outsourced to professionals, it ensures investment of corporate money in high potential artists and artworks.

Earlier art was purchased without much planning but now art is chosen by, corporations with great care to match the organizations culture, brand and outlook. The works are closely examined for their capital appreciation potential too.

The Corporations have now become a very high determined of the contemporary art market due to their large purse strings and the number of works purchased.

Top Corporate Art Collections

There are approximately 1500 serious corporate art collectors. Here are some of the famous collections.

Progressive art collection – consists of 6500 artworks

Deutsche Bank art collections – 56,000+ works of art

UBS art collections – consists of 35,000 works of art

Microsoft art collection – 5000 works of art 



Sources used in the article:

List of Corporate Art Collections
http://www.art2vu.co.uk/patronage_and_investment/corporate-art-collections.php

The corporate art brief -
http://home.earthlink.net/~corporate.directory/id4.html

Mordern Indian Art Market Returns to Peak Levels

Butterfly Woman by Asma Menon, courtesy Monsoon Canvas

So far, 2010 has been a very good year for the Indian art market.Both volumes and average auction prices in the Modern Indian art market are now back to levels seen at the peak of the Indian art market in June 2008 – a remarkable recovery after volumes in the Modern Indian art market dropped 63% between September 2008 and March 2009, and prices fell 46% in the same period.


The sharp recovery in the Modern market is also starting to rub off on the Contemporary Indian art market, which has remained subdued after market confidence evaporated during the downturn. The Contemporary Indian art market dropped 93% in volume and auction prices plummeted 85% between autumn 2008 and spring 2009. However since then, average prices are only 35% below its peak, and volumes have more than doubled since June last year.

Arttatic, Indian art report, June 2005

Seminal Masterpiece by Syed Haider Raza Leads Christie's Sale

Syed Haider Raza (b.1922), "Saurashtra", 1983. Estimate: £1.3 million-1.8 million. Photo: Christie's Images Ltd., 2010.

LONDON.- On 10 June, the day after Christie’s unprecedented sale of art works selected from the Estate of Francis Newton Souza, the momentum continues with Christie’s South Asian Modern and Contemporary Art auction. The renewed confidence in the market for this category was signalled by the success of the New York sale in March, which realised $8.9 million and was 95% sold by value, with many new private collectors bidding. The international appeal of this field continues to grow, with participation from buyers in Singapore, Hong Kong, U.A.E, the United States and Europe. The London sale is led by Saurashtra, 1983, a seminal masterpiece by Syed Haider Raza (b.1922) (estimate: £1.3 million-1.8 million), which is the most valuable modern Indian work of art ever offered at auction. This auction presents an exhilarating array of important works from private collections, with excellent provenance by the leading Indian and Pakistani artists of 20th and 21st century. Featuring the celebrated masters of the Progressive Artists Group, through to the biggest names in contemporary art, attractive estimates cross the spectrum of artists, styles and media with estimates ranging from £1,000 to £1.8 million. The sale is expected to realise in excess of £4 million. Please see the separate press release for details on the sale of art works selected from the Estate of Francis Newton Souza.

Yamini Mehta, Christie’s Senior Specialist, Director, South Asian Modern + Contemporary Art, London: “The global art market is receptive to the best. As international collectors converge in London this June prior to heading to Art Basel, where an increased number of South Asian Art will be on view this year, we are thrilled to be offering iconic works by the masters as well as important contemporary works, including examples by Pakistani artists. It is important that Christie’s, as well as galleries, art fairs and institutions, continue - as they do - to broaden concepts of what constitutes Sub-Continental art.”

Modernism:

The top lot of the sale is the most valuable modern Indian art work ever to be offered at auction: Syed Haider Raza’s Saurashtra, 1983, (estimate: £1.3 million-1.8 million), from a Private French Collector who acquired it directly from the artist, illustrated above. This large work (78¾ x 78¾ in. / 200 x 200 cm.), by one of India's leading modern masters, belongs to a key period in Raza's career when his artistic path brought him full circle and he began to integrate vital elements of his Indian childhood and cultural heritage into his paintings. Combining powerful and expressive brushstrokes with a very rich palette, Saurashtra provides a transitional bridge into his structured geometric works which are characteristic of his most recent body of paintings. Exploring landscape and nature; gesture and expression; geometry and spiritualism, this painting is one of Raza's most ambitious works to date. This is a remarkable opportunity for collectors and institutions around the world.

Further Modern Highlights:

• Untitled (Arjuna and Krishna), circa 1980s, by Maqbool Fida Husain (b.1915) (estimate: £500,000-700,000) which portrays the heroes of the Hindu epic, the Mahabharata. The strong influence of classical Indian painting and sculptural traditions upon Husain is evident in this work, which exemplifies the characteristic energy of Husain’s canvases.

• Falling Bird, 1999 is a tour de force by Tyeb Mehta (1925 -2009), one of India's greatest Modernist masters (estimate: £400,000-600,000). Having executed only a relatively small body of work, it is very rare that such an important example comes to auction. With mythological thematic roots, this work skilfully combines concept, line, colour and composition.

• Untitled (Gulammohammed Sheikh with Tom Hancock), circa 1970s by Bhupen Khakhar (1934-2004) (estimate: £100,000-150,000). Gulammohammed Sheikh was Khakhar’s lifelong friend; Tom Hancock (1930-2006), a British architect who taught at Baroda during the seventies and designed the Battersea Peace Pagoda in London, also became part of the artist’s circle. Drawing inspiration from the West and India, this painting stylistically alludes to early Italian painting and Bengali pata painting from Kalighat, but also imbues the spirit of Henri Rousseau and David Hockney.

Contemporary Works:

The strong array of contemporary art featured provides collectors with an opportunity to acquire significant works by some of the best known South Asian practitioners today. Subodh Gupta is one of India's leading contemporary artists, whose powerful vocabulary is firmly rooted in the vernacular of everyday India. Chimta, 2003, (estimate: £200,000-300,000), transforms hundreds of stainless steel tongs or 'chimta' - a common Indian kitchen staple used for handling chapatti and naan bread - into a metallic explosion of wonder. Offered from a private European collection, this semi-globed constellation continues the legacy of Duchamp’s ready-mades whilst simultaneously revealing the sensuous splendour of familiar objects, as if they are precious or luxurious commodities. Gupta stirs questions about the dramatic changes and shifts that accompany India's strengthening economy and its effect on the country's deeply spiritual and ancient culture.

Further Contemporary Highlights:

• Untitled by Ravinder Reddy (b.1956) (estimate: £90,000-120,000), who contemporises traditional Indian goddesses, whilst referencing Jeff Koons and playing with the American concept of "super-sizing." Through such transformations and re-appropriations of ancient Indian temple sculpture, the artist is possibly commenting on how India's religious and cultural histories are being diluted and Westernised by the surge of ‘progress.’

• Dis-location 3, 2007, by Rashid Rana (b. 1968) illustrated left (estimate: £60,000-80,000) who charts a new course with his ‘Dis-location’ series by using one location photographed over a duration of twenty four hours to create the large composite image of the same location. Disorienting the viewer’s sense of time and place, the 'pixels' of the work illustrate the frenetic nature of busy street life in contemporary Lahore, whilst the overall image possesses the charm of a historical photograph.

As printed in http://www.artdaily.org/, 2nd June 2010

Get ready to pay Rs 100 cr for a single work of art

S.G Vasudev, courtesy Monsoon Canvas

As confidence for Indian modern art returns, prices will rise in the same proportion as they did in the last decade.
What are we to make of the sale of just two artworks at auctions this year equalling the size of the entire Indian market? Pablo Picasso’s Nude, Green Leaves and Bust last week became the world’s highest-priced artwork when it was auctioned by Christie’s for Rs 478 crore, beating Alberto Giacometti’s sculpture Walking Man I that was auctioned earlier in the year by Sotheby’s for Rs 468 crore. That the Indian art market is terribly undervalued hardly needs reiterating. But when it fell from Rs 1,500 crore in 2008 to about Rs 800-900 crore currently, the signals it sent out were not just about the low value attached to Indian artists but, more importantly, about the shortage of good art in the market.

In part, this is because what we refer to as “modern art” has had a very short history in India, with even fewer artists working in that style. How many of Raja Ravi Varma’s co-painters can we name? Or, for that matter, who were Amrita Sher-Gil’s contemporaries? Because “studios” hired painters to paint in the style that was then fashionable, works by even talented artists were attributed to an ambiguous “Anonymous” identity. Almost no research has been undertaken to identify who these artists were.

Since the forties, we have seen more works by more artists, but as compared to Western countries, the numbers have been low (because there were fewer patrons, perhaps — the “modern school did not appeal to everyone in India nurtured on a tradition of more sentimental aesthetics), and recognition for them even lower. A number of artists who worked through the fifties, sixties and seventies would have remained for all purposes unknown, had not the heady pursuit of scarce artworks and a booming art market in the last decade led to their resurrection from a state of near-anonymity.

High disposable incomes, the opening of Indian markets and an appreciation of things Indian drove up the prices of Indian art on a combination of availability, quality and hype. Hysteria marked the new benchmarks that auctions now created. The first painting to cross the Rs 1 crore standard and each successive crore were excitedly reported and an increasing number of artists were welcomed to the “crore club”. For a while it appeared that art for art’s sake had been overtaken by art for investment’s sake.

How the art market would have continued if it hadn’t been reined in by recession is now in the domain of speculation. But this much we do recognise: that the art market had over-heated not because of the top prices paid to a few, rare quality artworks but because the vast and greedy contemporary market had been consumed by a lust for easy money. Unproven artists were demanding and getting unreasonable valuations, mediocre art was over-priced, and there seemed no precedents any more to valuations.

But a thumbs-up to its recovery comes from art market research firm Art Tactic’s report that shows confidence in the Indian modern art going up 28 per cent since October 2009. On its scale of one to 10, Indian modern art is now placed at 6.9, not just its highest ever posted by the London-based firm, but up from 4.9 just six months earlier.

The report is bound to bring speculators back into the Indian art market, lured by the prices and high confidence in, particularly, modern art — the gap between modern and contemporary art, according to the report, has widened to 51 per cent. But some common sense should help the collector in arriving at the “right” price. If we accept that for a country of India’s size, there were very few painters to begin with, and then accept the global average that only 10 per cent of an artist’s work can be considered of exceptional quality, then the amount of such art is very limited and getting scarcer as it ends up in the hands of intuitions, or collections, that are unlikely to re-sell.

And it is works of such quality that will do for prices in the new decade what they did in the last decade, something that investors with their short-term concerns would do well not to overlook. India’s highest prices for art were achieved in 2008, true, but this must be said: in the decade 2001 to 2010, the highest prices achieved moved from Rs 10 lakh to well above Rs 10 crore. In the coming decade, the same quality of artworks will see the price move from Rs 10 crore to — yes, hold your breath! — Rs 100 crore.

Even at that price, a Tyeb Mehta or F N Souza, an S H Raza or M F Husain will still be a fourth or fifth of Picasso’s current value, but we can save the catching up for the next decade that will follow.

These views are personal and do not reflect those of the organisation with which the writer is associated

 
Article by Kishore Singh as printed in Business Standard, May 12, 2010

Practical advice from an art collector - on art as investment

Still life, R.B.Bhaskaran, courtesy Monsoon Canvas

As a long time collector, I have had the chance to mull over my art portfolio, which has been collected over the years. When I look at them, I see many from my earlier days that were purchased merely for capital appreciation and many that were purchased because they touched me in some way. In hindsight, I would say, the latter set of paintings still has the same effect on me unlike the ones I purchased purely for investment.

And what happened to capital appreciation, you ask? Well it has appreciated, but only notionally, I do not think I could monetize them for a decent profit…..

Art as a serious (organized) investment medium emerged only in the 2000s, promoted by Investment Banks looking for diversification of their portfolio. With a lot of new-money in the economy with the internet boom and the world becoming flatter, banks found an innovative and glamorous investment medium for their clientele.

But has it lived up to its expectations?

The performance of some of the recent funds like the ABN-Amro Fine Art fund and the Osian’s Fine Art fund (India) were not very encouraging. Unfortunately, they were unable to provide capital appreciation to the investors, on the contrary the investors actually lost a portion of their investment.

Investing in the works of modern and renaissance masters definitely pays off as those works are limited in numbers and there is no chance of further works being done. These works also command historic and academic value. One can also be sure of the real talent and value of the artwork due to the mass of literature detailing them. In other words an investor knows what he is getting. Unfortunately this is a luxury that is affordable by a few.

Whereas, in the case of contemporary art, which is more affordable, there is scope of increase in supply (as the artists are still active) and there is no antiquity value that it has. The artist and artwork has not been time tested (read, survived series of art critiques and analysis). One would need a lot of patience investing in one of them as it would be a long wait for a considerable appreciation, especially if the artist is very prolific. This effects the liquidity of contemporary art as a capital appreciation tool.

Either this or that, the best advice would be:

Buy an artwork that you love and that communicates to you in some way, as it is going to be hanging on your wall for a long time. Buy art for the love of it.

Cheers,

Art collector

Other Related articles

Guide to investing in art funds

Indian Art - an alternative investment option

Motivations to Invest in Art

March of Progress, Jitin Hazarika, courtesy Monsoon Canvas

Diversification: An investment in art can be an effective tool to reduce the risk exposure of a carefully planned investment portfolio. This would be an ideal measure to employ during a period of market volatility.

The prerequisite here, is top-quality art and a long-term view of 10 years or more. Research supports the ability of quality art to survive economic downturn, the value of the holding never going down to zero, compared to many other investments. Art prices have been consistently shown to recover more quickly after crashes than equities.

In addition, art market prices have been shown to have outperformed the S&P500 and more conservative investments in the long-term (Mei/Moses' extensive research of paintings sold at auction over a 50 year period compared to US stock market prices- note both asset classes were ex transaction costs).

Economic slowdown: During these periods investors begin to turn to alternative investments, such as art, when equities and property seem fully valued.

Capital appreciation: This benefit attracts those investors wishing to achieve long-term growth that beats inflation and has a good chance of outperforming the stock market. The factors fuelling this upward trend are an ever-increasing demand of art due to globalization, increasing need for corporate identity, rising incomes and more information lending to better art market transparency. This increasing demand is met by a falling supply of top quality art, as works cannot be produced at will.

Speculation: The best conditions for this aspect are when stock markets are booming and interest rates are low, when investors wealth and confidence is growing. Recently the ability to speculate has also been lubricated by the increasing transparency; availability of comprehensive research and information from the media and Internet, which is helping to define art as a new asset class.

However, caution should be exercised. The art market is illiquid compared to equities, having a lower turnover rate, thereby contributing to the opaque nature of art prices, which can be vulnerable in some sectors due to subjective pricing and faddish trends. Art works normally produce no income streams, they are unregulated and difficult to compare.

In addition, transaction costs, due to agents, often essential for securing the best deal, can be as much as 25% and may wipe out profits in the short term. One should also budget for negative income: storage and insurance. This can be recouped by renting out to museums, corporations and galleries, and having a long-term view.

Extended Boom Period: Art market prices have been shown to carry a beta greater than 1, art prices move up more than equities in boom times and drop lower in crashes (William Goetzmann Yale School of Management). Fortunately there is usually a time lag of between 9mnths and 2 years. For example Oct 87 Crash, Sotheby's and Christies achieved record prices in that year, the art world only crashed at the beginning of the 90's. This is good news for those wishing to engage in art investment with speculative motivations.

Taxation benefit: For those seeking capital gains rather than income. This is of best advantage in a corporate environment because art can be written-off over time as an expense.

Philanthropy: For those investors who want to contribute to, the development and safe-keeping of culture, stimulating growth of the local and world economy at large by investing in the Creative Economy, while also providing much needed support for working artists.

Emotional dividends: A work of art can providing a lifetime of visual pleasure to its owner. In a corporate setting, art well chosen work of art can improve employee wellbeing and productivity.

Social status, Corporate Identity and Brand Management: Through self differentiation, this function has served acquirers for thousands of years...

Remember: Non-speculative reasons for investment in art should be a priority, because most people who have made money have not made it by purchasing art as an investment. The key to a great investment is the combination of knowledge, focus, diversification and passion.


The article originally appeared in http://art2bank.com

Indian art funds: Hedging the bet hasn't paid off

RB Bhaskaran

Some weeks ago, a financial daily finally came out with a strongly worded story that was fairly common knowledge within art circles: The great Indian art fund—and there are too many to list—as per available figures, has proved (as yet) to be a non-performer in-so-far as deliverables go: the promise of fantastic returns used by fund managers waved at the naïve and occasionally, hapless investor remains, till this day, just that. But, say trade experts, it’s not all as bleak as it sounds.


Placing the current situation within a larger, ‘markets’ perspective, financier and art collector, Nandan Maluste analyses the scenario thus: “An ideal investment market trades identical items, is liquid, transparent and well regulated so that only what is unfair is illegal, known to all, and infringements are punished rapidly.

Nevertheless, even investing in an ideal market cannot be risk free. In reality, no market meets this ideal. Imperfections are seen as opportunities by the shrewd and patient, but are obstacles to the naïve or hurried.”

Having advised an art fund, Maluste adds, “It’s obvious that no art market can match the above ideal, and the Indian art market does not, on any count. In spite of this, most art fund promoters (when they set out) promised liquidity and returns within a short time or even regularly. They also exaggerated their own expertise. People believed that the bull-run, just like the bull-run in the equity market, would persist longer than it did.”

In short, what we are witnessing is a cumulative fall-out of a collision between larger recessionary trends and the specific peculiarities of trading that exist within the Indian art market. A portion of the dismal picture, opine experts, is also mired in the irregularities of trade practice. As is known, this market is in the early stages of development. The absence of monitoring systems and a lack of clear checks and balances vis-à-vis financial due diligence, have all played a role in precipitating the situation.

Founder and chairman, Osian’s and chief advisor, Osian’s Art Fund, Neville Tuli, continues however to believe that there is no ‘Art Fund Crisis’ as such. He describes the current situation as “... only a low moment in the larger historical journey which cannot be short-circuited into success.”

He adds, “You have to see the present problem in the context of transforming the art object into a credible capital asset in a cash driven economy, without basic financial infrastructure, sufficient public awareness, regular institutional flow of authentic art financial information, and a host of other financial facilities (eg bill discounting, collateralisation of art fund items, underwriting framework) that are just not available.”

Mukesh Panika, director, Religare Arts Initiative opines: “One would not say that there is a crisis really, but the art funds floated in 2006-08, when the art market was booming, have found themselves facing difficult times due to the downturn in the global market which has had an impact on the Indian art market as well.

Another contributing factor is that this asset is not as liquid. The art fund which we are advising is in the nature of a Private Trust which operates for the benefit of the beneficiaries.” He holds that there is a chance of getting better returns in the coming years and the “same would earn reasonable returns by 2010-11.”

A senior art critic though is skeptical. Citing reasons of aesthetic judgment, he explains, “Not all fund managers are necessarily qualified to assess the aesthetics of every/all work. Selecting art for collections/funds is a specialised task. In fact it’s an unwritten rule that seasoned collectors are familiar with: every work of art by even established artists is not likely to appreciate. An assessment of works acquired for the purpose of appreciation within the collection of the many art funds may reveal that almost 30-40% is not likely to make the grade.” A well known art collector, who chooses not to be named adds, “In the case of some art funds it’s all a case of insider trading at its worst!”
Assessing the situation in more candid vein, Swapan Seth, managing partner, Henry S Clark, an art house, says: “We had it coming. It was greed on the part of fund houses that wished to over leverage their grandiose ambitions and make a pile of cash, and naiveté on the part of the investor, who had little knowledge of the intricacies of the art business, that made it all topple like a pack of cards in the wind.”

But to give the devil its due, certain funds are taking onus and quick steps to rectify the mess. Speaking for Osian’s, Tuli claims, “We have almost completed the redemption of 85% of the capital to all Unit Holders. Five out of the 11.72 income were paid 18 months ago. Thus for every 100 unit invested 15+6.72 needs to be repaid to close the Fund, which will be completed within February 2010.”

In months to come, the larger scenario is only expected to improve. Says Maluste, “With stocks, property, gold and other commodities all picking up, we should see better prices for Indian art in 2010 and 2011. But whether those will yield attractive returns for those who bought in 2006 or 2007, at peak market prices and bore the whiplash of the 2008-2009 slide remains to be seen.”

Seth adds, “While correction has taken place, much remains to be done. I see the punters losing steam, strangulated by the money they had invested and cannot get back. On the other hand for the serious investor/collector, I see light at the end of what will be a tenuous tunnel. At the end of three years, the wheat will be separated from the chaff. But about one thing I am sure. Art as a market will be chastened after having realised as Richard II did, that its “...rash, fierce blaze of riot cannot last.”

For the future, Seth touts a Buffet like perspective to investing. Laconically, he urges, “...when others are greedy be careful. When others are careful, be greedy. So if you have been careful buy more now since there is no better time. If you have been greedy, Oliver Twist like, wait in line for your gruel. To those seeking to invest, do it because you want to invest and not speedily divest. Invest because there is intrinsic value in art. Not prodigious returns, perhaps. If you view from an equity perspective and see it through the lens of short, mid-term and long term investment, you will see potential in it. If you view it from The Golden Goose perspective, then your goose is cooked and on your table already.”

Maluste’s advice to the already invested is, “Be patient. Imagine you have invested in Indian real estate. Modern and contemporary art still holds potential as an asset class provided one is not thinking short term. The rich throughout the world, including India, have always patronised art, with a variety of motives. Over the long run, they have done amazingly well. I think the market is heading for continued growth over the medium and long terms.

Not only are Indians becoming more affluent and appreciative of our art and artists, but foreigners are increasingly getting interested. Essentially, as has passed into the popular idiom since the 2002 Goldman Sachs report, the BRIC countries will be economically ascendant, in case of India at least till 2050. Financial and cultural attention will therefore focus upon us. This will make it economic to improve and educate the entire chain, from artist to collector.”

The last word, ironically enough, could come from Tuli, who holds that: “There are very few guidelines for leaders, and so we must absorb all lessons with equanimity.” Indeed the art fund ‘situation’ in India affords a useful primer for those who have singed their hairs, and for those aspiring to enter a market, nay a world, that holds the potential to yield several sweet returns, many of which cannot be measured in commercial terms.

(The writer is director of The Loft in Lower Parel, Mumbai)

Financial Times, 24 Jan, 2010