Art Auctions Look Abroad
Weak Dollar, Wobbly
Stocks
Could Scare Off U.S. Buyers
By KELLY CROW
November 2, 2007; Page W8
With the American economy
smarting from a weak dollar and an erratic stock market, New
York's chief auction houses are counting heavily on new collectors
from Europe, Asia and the Middle East to sustain the art boom.
When the flagship New York fall auctions start
Tuesday, American collectors are largely expected to watch
from the sidelines while foreign buyers dominate the bidding
for the priciest Impressionist, modern and contemporary art.
The major auction houses --
Sotheby's, Christie's and Phillips de Pury & Co. --
predict this global buying will push their combined sales
during the two weeks of auctions to as much as $2 billion,
up from $1.3 billion last November and $764 million in November
2005.
See a slideshow
of some of the major works that will be on the auction
block next week.
Sale highlights
at Sotheby's include a Gauguin view of a Tahitian woman
estimated to go for up to $60 million, a late Van Gogh
depiction of a wheat field for up to $35 million, and
a Francis Bacon bullfighter for up to $45 million. Overall,
Sotheby's expects its sales to bring in as much as $977
million.
Christie's, meantime, is selling art
it estimates could bring in up to $1.03 billion, including
two Rothko abstracts that could fetch as much as $30
million each; a Warhol portrait of Elizabeth Taylor
being sold by actor Hugh Grant estimated at up to $35
million; and a Cézanne watercolor of a gardener
for up to $25 million.
The rival houses also each feature a
sculpture by Jeff Koons from the artist's 1994 series
examining popular holidays. Each is estimated to fetch
up to $20 million.
Phillips estimates the take from its two-day contemporary
sale at up to $66 million, including a 1982 De Kooning abstract
that could fetch up to $7 million and Richard Prince's "Nurse"
painting for up to $2.5 million.
From Moscow to Mumbai
To ensure an international turnout, the auction
houses are retooling their marketing efforts and sales offerings.
Sotheby's broke a record for a Chinese contemporary artwork
last month in London and now the auctioneer is adding million-dollar
works by Chinese artists like Yue Minjun to its New York evening
sale for the first time. By contrast, the sale is nearly devoid
of local art stars like Barnaby Furnas who are lately coveted
by U.S. collectors.
Christie's, meanwhile, has instructed its
specialists to make more house calls to foreign buyers, including
those benefiting from record petroleum prices, to show off
art that could "plug holes" in their collections.
The auctioneer even shipped a painting to Hong Kong so a prospective
bidder could eye it up close, at home.
"We used to be thinking about hedge funds,
but now we're looking for barrels of oil," says David
Norman, Sotheby's world-wide co-chairman of Impressionist
and modern art.
This attention shift also involves catering
to an international set whose shopping styles don't necessarily
match those of Americans, Mr. Norman says. American collectors
tend to enjoy bidding themselves or through well-known surrogates.
But Mr. Norman says he has come in as early as 8:30 a.m. and
stayed after 7 p.m. to show art to foreign buyers who don't
want to be seen at the auction house during the workday. On
the other hand, the new clientele are so geographically diverse
-- often bidding remotely -- that they are less insistent
about being wined and dined at fancy dinners during the two
weeks of sales, according to Tobias Meyer, Sotheby's world-wide
chairman of contemporary art. (Only the hometown crowd is
expected to attend a Sotheby's dinner honoring Ellsworth Kelly.)
It's a remarkable change for American collectors,
who have for decades wielded the most purchasing power at
these sales. But about a year ago they began being outbid
consistently by newly minted millionaires from Moscow to Mumbai,
many of whom made fortunes in the global commodities boom.
In May, for example, not a single American vied for the Rothko
that Sotheby's sold for $72.8 million, and the painting went
to an anonymous telephone bidder.
America's role in the art market is still
being tested: After the credit crisis hit Wall Street this
summer, some dealers worried that Americans would slow their
art buying and therefore cause the entire market to crash.
Dollar as 'Rebate'
Americans did wind up buying a smaller percentage
of contemporary art at minor sales last month in London --
they accounted for 19% of buyers at Sotheby's Oct. 12 sale,
down from a typical third -- but the London sales nevertheless
were deemed a measured success.
"I'm not as worried about the art market
as I was in London," says David Zwirner, a New York dealer.
"The art market is just so broad and has infiltrated
so many lifestyles that it's become part of our social fabric,
and you can't easily strip that away."
But the stakes are higher in New York, where
Americans traditionally hold sway. They still bought heavily
earlier this fall at New York sales of wine, silver, folk
art and photographs. But art experts are keeping a closer
eye on how much they buy at the coming contemporary sales
because American buyers often determine -- with their purchases
-- which contemporary artists are most fashionable, like Richard
Prince. "The postwar market cannot survive just on foreign
buyers," says Amy Cappellazzo, Christie's international
co-head of postwar and contemporary art.
Cracks in the overall market already have
been spotted by Jianping Mei and Michael Moses, co-founders
of Beautiful Asset Advisors and creators of the Mei Moses
All Art Index. The index compares repeat sales at auction
of roughly 12,000 objects from 1925 through this spring. As
of July 1, the index's return was 13% for the year, compared
to the 20.5% growth in the S&P 500 for the same period
and the art index's 22% return in the first half of last year.
"The froth seems to be coming off," Mr. Moses says.
U.S. collectors who are selling works now
may benefit the most. Sotheby's says about eight works, or
just under 10% of its evening sale of Impressionist art, comes
via collectors affected by the financial turmoil in the U.S.,
including the credit crisis. But Mr. Norman says an even greater
number of owners consigned works in hopes that the weak dollar
will bring high prices from foreign buyers.
Tiqui Atencio Demirdjian, a major collector
from London, says she and her European friends do plan to
buy more at the November sales: "Every little bit of
a rebate [from the weak dollar] feels nice, especially when
you're overpaying for art."
The auction houses have a lot riding on the
sales. All three have tied up a bundle of their own cash to
win consignments. Sotheby's board permitted executives to
stake up to $500 million to secure coveted pieces; as a result,
it has signed guarantees for 62 lots at its two evening sales.
Christie's has guaranteed 57 lots for its evening sales. With
a guarantee, the auction house essentially pledges a price
to a seller, and in return, gets a larger cut -- sometimes
as much as 40% -- of any profit above its promised sale price.
Matthew Marks, a New York dealer, says the
move could pay off: "It's still early days with all these
international buyers, but some will undoubtedly build great
collections. Having a lot of money sure helps.