Max Beckmann’s “Hölle der Vögel” (Birds’ Hell) (1937-1938) Sells for US$45,834,365

Max Beckmann’s “Hölle der Vögel” (Birds’ Hell) sold for US$45,834,365 at Christie’s London Tuesday evening (June 27).

The painting, executed in oil on canvas in 1937 – 1938, drew three bidders and sold to Larry Gagosian. It is understood that Mr. Gagosian was bidding on behalf of the New York collector Leon Black.

Art dealer Richard Feigen acquired the painting in 1983. Hölle der Vögel” (Bird’s Hell) has remained in his collection until now.

See:

Boosted by Gagosian’s Record Bid on Beckmann, Christie’s Notches a $190 Million Impressionist and Modern Sale” | Colin Gleadell, Artnet.com, 27 June 2017

Christie’s Impressionist and Modern Art Evening Sale, London, 27 June 2017, Results | Christie’s

Max Beckmann Hölle der Vögel, 1937-38 (special catalogue) | Christie’s

 

#art #artcollections #artmarket #MaxBeckmann #BirdsHell #HöllederVögel #Christie’s #LarryGagosian #LeonBlack #realestate #resilience #luxury #urbanluxury #NewYork #London

coastal property, coastal property values, & flood risk

For those considering an investment in real property (residential or commercial) along the eastern seaboard of the United States, insights are offered in an article published in April by the New York Times, “When Rising Seas Transform Risk Into Certainty” (Brooke Jarvis, 18 April 2017).

Some highlights follow. The upshot? Conduct your discovery and due diligence carefully. Try to think long-ish term (what are your long-term investment investment horizons, when do you plan to exit, e.g., sell your house or property, etc.). Consider a  variety of numbers (not only interest rates, number of bedrooms and bathrooms, square footage, appraisals, etc., but also sea levels, projected sea levels, flood zones, insurance premiums, any projected rise of insurance premiums, etc.). Ask your lender (if you are financing), real estate professional, and insurance professional lots and lots of questions.

  • Economists aren’t sure if coastal property values will decline gradually, as the life expectancy of homes shrinks, or precipitously, “the first time a lender refuses to make a mortgage on a nearby house or an insurer refuses to issue a homeowner’s policy.” (Sean Becketti, chief economist, Freddie Mac)
  • “Hundred-year flood zone” | A hundred-year flood zone sounds like sounds like a factor of time, as if the land were expected to flood only once every 100 years. What it really means is the land has a one percent (1%) chance of flooding each year.
  • If the property that you are considering buying is in a “hundred-year flood zone,” then in order to get a federally backed mortgage, you will be required to pay for flood insurance through the National Flood Insurance Program (N.F.I.P.).
  • Congress created the N.F.I.P. (the National Flood Insurance Program) in the late 1960s
  • The N.F.I.P. was intended to encourage safer building practices
    • The N.F.I.P. offers insurance coverage, some of it subsidized, to communities that meet floodplain-management requirements;
    • People that want to buy a house in a flood-prone area are required to buy N.F.I.P. insurance coverage.
    • The N.F.I.P. provides grants for mitigation projects, like elevating houses, meant to reduce flooding damage.
  • Critics of the N.F.I.P. observe that N.F.I.P. flood insurance, by bailing people out repeatedly and by spreading the true costs of risk, incentivizes people to build, and stay, in flood-prone areas instead of encouraging safer building practices.
  • As storm damage becomes more costly, the N.F.I.P. is getting deeper and deeper (in the order of tens of billions of dollars) into debt. The expense of insuring coastal properties is increasing. Taxpayer-subsidized premiums are not able to meet the costs of insuring the coastal properties.
  • In 2012 and 2014, Congress responded to the N.F.I.P.’s troubles with bills known as Biggert-Waters and Grimm-Waters.
  • The Biggert-Waters bill of 2012 cut subsidies and phased out grandfathered rates so that premiums would start to reflect the true risk that properties face, achieving “actuarial soundness.”
  • Prospective buyers are disturbed less about the risk of high waters and more about the certainty of high premiums.
  • Insurance provides stability, both financial and mental, in an uncertain world, and implies “mastery of risk”.
    • As waters rise, flooding in low-lying places without sea walls will become more and more common.
    • The presence of water will become less about chance and more about certainty.
    • Few insurers are willing to bet against a certainty.
  • The math of the “collective hedge against helplessness” (insurance) in the face of climate insecurity will get harder.
  • AIR Worldwide models the risks of catastrophic events for insurance companies and governments.
  • According to AIR Worldwide, $1.1 trillion in property assets along the Eastern Seaboard lie within the path of a hundred-year storm surge.
    • $1.1 trillion represents only the risk on the East Coast under current sea levels.
  • According to a 2008 analysis by Risk Management Solutions (R.M.S.) and Lloyd’s of London, annual losses from storm surges in coastal areas globally could double by the 2030s.
  • In 2015, the N.F.I.P. asked R.M.S. and AIR Worldwide to update its modeling of financial exposure from possible storms to properties it insures across the country
  • In 2016 and 2017, the N.F.I.P. transferred some of its risk to large, private companies known as reinsurers (insurance for insurance companies)
  • A vote to reauthorize (or not) the N.F.I.P. is scheduled to take place in September of this year
  • Some believes it is time to start limiting coverage for properties that are flooded over and over.
    • Multiple losses “should force us to shift our position where we make an offer of mitigation to a homeowner, and if they do not choose to take it, we don’t renew their policy.”
  • Flooding is the most common, and most expensive, natural disaster in the United States.
  • Private insurers have long declined to cover flood risk.
  • Some private insurers are beginning to show an interest in covering flood insurance for the first time.
    • Again, prospective buyers are disturbed less about the risk of high waters and more about the certainty of high premiums.
    • The end of subsidized coverage and the possibility of higher premiums encourages private insurers
    • As flood insurance premiums increase,
    • private insurers have a greater incentive to compete.
    • Private insurers can seek and obtain private underwriting from companies such as Lloyd’s of London and A.I.G. subsidiaries.
  • More accurate risk analysis, with powerful computers running more simulations that include more variables, also incentivizes private insurers
    • Premiums from private insurers can now cost 30 to 35 percent less than those policies bought through FEMA
    • Yet, private companies issue such policies in the belief that the outcomes against which risk is covered will not occur
    • Private insurance is “of course” not interested in covering severe-repetitive-loss properties or buildings whose exposure is higher than what can be recouped in premiums.
  • Mike Vernon, an insurance agent in the Hampton Roads area of Norfolk/Virginia Beach, gets most of his business from referrals from real estate agents. He observes
    • “We’re often actually making the building worse to bring down premiums,” filling in basements, or preparing a house to let water flow through it instead of keeping it out (yes, the house may be damaged by moisture, but at least it won’t be pushed off its foundation). “Or we’re eliminating something good, like a sunroom on a slab.”
    • “People are getting killed. To an appraiser it’s still worth $300,000, but to the real world it ain’t worth nothing, because it’s not going to sell.”

See:

When Rising Seas Transform Risk Into Certainty” | Brooke Jarvis, The New York Times, 18 April 2017

The National Flood Insurance Program (N.F.I.P.) | FEMA

Biggert-Waters Flood Insurance Reform Act of 2012 Timeline” | FEMA

H.R. 3370 – Homeowner Flood Insurance Affordability Act of 2014” | 113th Congress, Congress.gov

#realestate #risk #riskmanagement #propertyvalues #floodrisk #insurance #NFIP #FEMA #resilience #smartluxury #art #collections #collectionsmanagement

 

 

art storage & protection @ $1+ billion globally

The global art market generated sales of about $65 billion in 2016 according to the TEFAF Art Market Report 2017.

The growing, global network of facilities to store art now generates revenues of over $1 billion a year. Many of these spaces serve multiple objectives – including security, environmental protections, and trade: Sto

  • security
    • video surveillance
    • retinal scanning
  • space | collectors have too much to keep at home
  • protection
    • climate-controlled environments
    • fire-resistant walls
    • air-filtration
    • flood control
    • LEED and BREEAM building certifications
  • investment purchases
  • tax benefits
  • tax-suspended transport to and from galleries | as long as works of art return to storage no duty is payable, even if ownership of the art has changed
  • “1031 exchange” friendly
  • gallery inventory between shows and art fairs
  • storage of art taken by banks as collateral against loans
  • viewing rooms that can be rented on a more permanent basis | in-house, private sales and transfers of ownership
  • passport free access (freeports within airport perimeters)

Simon Hornby, the president of Crozier Fine Arts, estimates that 80% or even more of all the world’s art is in storage at any one time.

The art storage business has doubled in size in eight years and continues to grow.

“Until about ten years ago, Modern and contemporary art collectors were mainly made up of art enthusiasts and amateurs, they had a real passion, spending their money on what they liked; they collected in order to simply enjoy the work in their home environment. Today you have to work with an increasing number of art funds or speculators buying art for investment. Art buying has become accessible to a much larger audience than before and is considered an asset. The result of this is that more work sleeps in warehouses rather than hanging in collectors’ homes.”

Stephane Custot, Waddington Custot Gallery, London

“In the last year, I only physically saw one piece of art that I negotiated. Everything else was bought and sold via jpegs and remained in storage. It was all for investment.”

New York dealer and appraiser

In order to protect the assets, moreover, built environment investment is attempting to keep up with the evolution of demand, including security and environmental protections.

A state-of-the-art storage facility with “foreign trade zone” (FTZ) status (a freeport), ARCIS Fine Art & Collection Care, is under construction on Manhattan’s West 146th Street. Developed by Cayre Equities, the project has taken two years and over $40 million. Executive Director Tom Sapienza and Tom Lay, both formerly with Crozier Fine Arts, were recruited by art collector, real estate developer, and Crozier founder Ken Cayre to manage the project.

The five-story, 110,000 square foot is scheduled to open next month (July 2017).  ARCIS is Latin for “fortress”. The facility is designed and engineered to provide and enhance both environmental and security protections.

With the objective of constructing a museum-quality, sustainable, state-of-the-art secure building, Sapienza and Lay took crash courses in thermal dynamics and consulted with the professional services branch of the Van Gogh Museum in Amsterdam. Works of art will be scanned as they move through the building. State-of-the-art air filters are installed; air will change three to six times an hour.  LEED and BREEAM certifications are to be achieved for the building.

See:

TEFAF’s 2017 Art Market Report” | Marion Maneker, Art Market Monitor, 6 March 2017

TEFAF Art Market Report 2017” | Prof. Dr. Rachel A.J. Pownall, TEFAF Chair in Art Markets, The European Fine Art Foundation, March 2017

Where does all the art go after a fair?” | Georgina Adam, The Art Newspaper, 16 June 2017

Picasso Finds Possible Digs in Harlem $2.5 Billion Art Port” | Katya Kazakina, Bloomberg, 2 March 2017

Will New York Get Its Own Freeport for Art? ARCIS Plans a Tax Haven in Harlem” | Eileen Kinsella, Artnet, 2 March 2017

One of the World’s Greatest Art Collections Hides Behind This Fence” | Graham Bowley & Doreen Carvajal, The New York Times, 28 May 2016

About Foreign-Trade Zones and Contact Info” | U.S. Customs and Border Protection, U.S. Department of Homeland Security

#realestate #resilience #smartluxury #art #LEED #BREEAM #finance #investments #artcollections #artmarket #VanGoghMuseum #museums

 

 

Andrew Goldstein on Great Art @ Art Basel

Andrew Goldstein, Editor-in-Chief of Artnet and formerly of Artspace, pronounces on “the ten best artworks at Art Basel 2017.”

Included are Francis Bacon’s painting “Study from the Human Body – Figure in Movement” (1982), offered by the Marlborough Gallery, New York, for $25 million and  Christopher Wool’s sculpture”Untitled” (2014), offered by Luhring Augustine, New York, for $2.2 million.

Mr. Goldstein observes that Bacon’s “Study from the Human Body – Figure in Movement,” obtained by the gallery directly from Francis Bacon just before he passed away,  features

“marquee elements of a major Bacon—the spooky transparent box (evoked memorably in the new “Twin Peaks”), vigorous coloration, and mutant figure in apparent agony—the painting advances Bacon’s interest in the body in movement, a subject he often painted from photos in sporting magazines.”

Of Christopher Wool’s “Untitled,” Mr. Goldstein recounts the inspiration that led the artist towards “a new way to translate his painterly aesthetics into sculpture”:

“some years back, the artist Christopher Wool was walking the wide streets of Marfa, Texas, when he came across an unusual tumbleweed that had formed in the desert out of barbed wire. Looping and gnarly, it reminded him of his abstract paintings …”

See:

The Best 10 Artworks at Art Basel 2017” | Andrew Goldstein, Editor-in-Chief, Artnet, 14 June 2017

#art #contemporaryart  #artcollections #artmarket #FrancisBacon #ChristopherWool #MarlboroughGallery #LuhringAugustine #Artnet #Artspace #collections #collecting #realestate #ArtBasel

楊詰蒼 | Earth Roots @ Ink Studio, Beijing

Beijing’s Ink Studio presents Earth Roots, a survey of Yang Jiechang’s One Hundred Layers of Ink series.

Born in Guangdong Province in 1956 and a 1982 graduate of the Chinese Painting Department of the Guangzhou Academy of Fine Arts, calligrapher Yang Jiechang (楊詰蒼) was selected to participate in the 1989 group exhibition Les  Magiciens de la Terre at the Centre Georges Pompidou in Paris.

Yang Jiechang arrived in Paris in April 1989 without works to show, however, as they had been detained at the Chinese border. So he responded extemporaneously.

Retaining his native medium, he distilled all that he knew and experienced into a simple procedure: the repeated application of ink with a brush on paper, day after day and layer upon layer, until the fibrous surface hardened into a thick, densely textured relief with a metallic sheen. As blackness turned paradoxically luminescent, it gained the dimensions of space and time, becoming a record of his actions and being. 

The resultant One Hundred Layers of Ink series departed strikingly from traditional ink paintings and resembled rather color fields and other modernist idioms,

but for Yang it was calligraphic practice in its bare essence, and was grounded moreover in the multilayered polychrome court painting of the Song Dynasty (960-1279).

Four large rectangular works were exhibited at Les  Magiciens de la Terre at the Centre Georges Pompidou.

Artsy describes Yang Jiechang’s multimedia works as combining  traditional Eastern and Western modes of representation, a confluence he calls “Eurasian.” Based in Paris and Heidelberg, Mr. Yang states, “Eurasia is the land I experience everyday in my life: I am from Canton, China, my wife is from Germany, our children are Eurasian. We feel this land; this disposition and lifestyle bear a lot of possibilities and power.”

Works from the One Hundred Layers of Ink series are in the permanent collections of the Brooklyn Museum; Cantor Center for the Arts, Stanford University; Deutsche Bank; Guggenheim Abu Dhabi; Hong Kong Museum of Art; M+, Hong Kong; and University Museum and Art Gallery, University of Hong Kong.

Other of his works are in the collections of Berkeley Art Museum, Berkeley; François Pinault Foundation, France; Fukuoka Art Museum; Guangdong Museum of Art, Guangzhou; Ministry of Culture, France; Rockefeller Foundation, New York; and World Bank, Washington, D.C.

See:

Earth Roots” | Yang Jiechang Paintings, 1985-1999, 10 June – 12  August 2017, Ink Studio, Beijing

Yang Jiechang | Artsy

#YangJiechang #InkStudio #Beijing #calligraphy #Artsy #artcollections #collectors #art #artmarket

 

Lévy Gorvy’s Brett Gorvy speaks

Lévy Gorvy, the gallery

What we do see ourselves as is a boutique, a haute-couture gallery that ultimately adapts itself and takes advantage of market changes and opportunities but is very sustained and has growth over a longer period of time.

It’s incredibly important to Dominique and myself that we are an individual company. We’ve committed ourselves financially to this project with the understanding that we can work with any business partner where it will be mutually beneficial, with no conflict of interest.

It will also be about painting, because what we really responded to in Dan’s studio is that he’s returning to his roots in a way that’s very much to our own tastes, where it’s less about the conceptual pieces and more about just really beautiful painting.

The only way these kinds of shows can be feasible is if you have a financial commitment and also a focus, which is how this kind of gallery works. Here I mean less from a purely curatorial aspect, and more curatorial in that it’s highly focused on our client base from a business point of view, and on the art-collecting sphere we feel very close to.

Auction background

Working at an auction house is a phenomenal training, obviously—you have access to great art, you have access to an amazing group of collectors who become your friends, and you learn how to work as a team, which is incredibly important within this environment. But you also learn ultimately how to understand the valuation of works of art and price them.

because of our strong auction background, we have very close ties with now all three auction houses. That gives us an understanding of how markets work and how values work, because we can dissect the results of the auctions at all three houses and know exactly what happened.

Art fairs

If you look at how an art fair can ultimately change, communication will be a large part of it. … So now they’re going to have to get to the fair in the first half hour, because that’s when these things happen. … The key is to get someone as committed as they would be to an auction picture, to the point where the only thing they need to do is see it physically, which is obviously a crucial part.

Asia

I’ve done a lot of work in Asia over the years, and we want to continue our position there. We believe very firmly in the strength of the market there, not just in China but all over Asia, and, having worked there, you know all of the nuances, and who are the people to deal with.

So, from our point of view, Hong Kong is where we’ll have the best access to the top collectors who we can ultimately develop. One of the most exciting aspects about Asia is that the learning curve of Asian collectors is phenomenal. I’ve never come across that speed of understanding markets and artists and desiring to learn more and read more.

And in Hong Kong too—we really need an office in Hong Kong in order to function, because a lot of clients want to have a base outside of mainland China, either because they want to have their assets outside of the mainland or because they prefer that way of buying. It’s like with a lot of West Coast collectors in America—they prefer to come to New York to buy, even if it’s from a dealer who has a gallery out on the West Coast. People buy more when they’re traveling.

See:

Former Christie’s Rainmaker Brett Gorvy on How He’s Creating a New Power Center in the Gallery World” | Andrew Goldstein, Artnet, 12 June 2017

#art #artmarket #LévyGorvy #DominiqueLévy #BrettGorvy #collectors #collections #Asia #HongKong #Christie’s #Sotheby’s