The global market for art may have been softer last year against a more volatile economic backdrop, but trends detailed within the latest annual report from Art Basel and UBS released earlier this week continue to show collectors are willing to buy.
Scanning a chart within the report of sales since 2009 reveals an ebb-and-flow in the overall market, but surprising consistency in the value of transactions and an uptick in volume.
The year-to-year differences, such as the 4% dip in market value to US$65 billion last year, are mostly driven by the number and outcome of big-ticket sales, which declined across auction houses and galleries in 2023.
How many high-value works of art come to market in a given year, however, often has less to do with buying interest from collectors during shaky economic conditions and more to do with the willingness of sellers to part with paintings or sculptures during a time of perceived weakness, according to Matthew Newton, art advisory specialist at UBS Family Office Solutions in New York.
“I don’t think we see an unwillingness to buy those works when they do come to market,” Newton says.
When the economy is weak, estates with less discretion over timing often are the main consignors of expensive art. For example, last fall in New York, Sotheby’s sold works owned by Emily Fisher Landau , a long-time patron who amassed a collection bursting with masterpieces that hadn’t appeared at an auction before.
Sotheby’s single-owner auction of the Fisher Landau collection led to the US$139.4 million sale of Pablo Picasso’s Femme à la montre (the second highest price for a Picasso work at auction); the US$41 million sale of Jasper Johns’ Flags ; and the record US$18.7 million sale of Agenes Martin’s Grey Stone II —prices that were within or exceeded expectations.
“People are still willing to make trophy purchases,” Newton says. “I don’t think there’s a lack of demand, it’s about a lack of supply.”
Rising interest rates since 2022 arguably could be another factor in slower high-end sales, since wealthy individuals finance about 29% of their art collections, on average, while the ultra-wealthy (those with a net worth above US$50 million) finance as much as 39%, according to a separate report on global collecting trends published late last year from Art Basel and UBS.
But Newton doesn’t believe higher rates played a significant role in the art market last year. The wealthy typically borrow money for business or investment opportunities; if they have a US$500 million art collection on their walls, borrowing against it can be a good source of liquidity. Any impact it has on the market would be “within the margin of error,” Newton says.
Another chart in the report tracks sales growth from 2009 through 2023 in five segments of the auction market, from works sold below US$50,000 to those achieving US$10 million or more. The results show the performance of most works of art that are sold—that is, those that fall below the US$10 million level—has been “relatively flat over a decade plus,” Newton says. “It’s really those works that are over US$10 million … that’s where we see growth in the art market.”
At auction, the US$10 million-plus segment fell a substantial 25% in 2023 from the previous year, but overall, the sales trend for those ultra-expensive paintings since 2009 has been on an upward trajectory. That’s no accident, considering the population of billionaires who fuel those sales has also continued to rise, with their wealth doubling over the last 10 years to about US$13.1 billion, according to the report.
“It’s a relatively very small group of people who can spend over US$10 million on artwork,” Newton says. Of those who can afford to, not everyone does, meaning a few individuals can alter total sales for the whole market.
In part, that’s because global art sales are relatively small even at US$65 billion. Consider the global private-equity market—another place where the wealthiest individuals place their money—was estimated to reach US$16.3 trillion last year, according to London data firm Preqin.
“$65 billion … that’s obviously a lot of money,” he says. “On the other hand, that’s the entire art market—it’s like less than half the net worth of a few individuals.”
Newton says he often reminds clients that not that much art that exists in the world is sold. “What is traded is a very, very small percentage of the work that’s out there.”
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U.K.-listed mining giant’s chairman says the proposal undervalues the company
LONDON— Anglo American on Friday rejected a $39 billion takeover proposal from rival BHP, saying the bid “significantly undervalues” the company and setting the stage for a potential bidding war.
London-listed Anglo American said the unsolicited proposal, which was made earlier this month and which became public this week, features an unattractive structure that is too uncertain and complex .
Anglo American Chairman Stuart Chambers said the company stands to benefit from its portfolio of assets, including copper, that are likely to experience growth from trends around the energy transition. BHP’s bid, Chambers said, is opportunistic and dilutive for shareholders.
BHP’s all-share offer valued Anglo American at about $38.8 billion, and would have been contingent upon Anglo American spinning off shareholdings in two South African-listed units. The proposal represented a premium of about 31%, not including the South African-listed units, based on Tuesday’s closing prices.
Some analysts had predicted Anglo would find the bid too low and are expecting BHP to return with another. BHP has until May 22 to make a firm offer, though the deadline can be extended. Industry participants expect other large miners to also take a run at Anglo, whose share price has dropped since 2022 as lower commodity prices have ripped through the industry.
A tie-up between BHP and Anglo American, which would be the largest mining deal on record, would illustrate the growing importance of copper, a metal essential to clean-energy products , to a sector that has long relied on Chinese industrialisation to boost profits.
Copper represents some 30% of Anglo American’s output, while BHP counts a majority stake in Chile’s Escondida, the world’s biggest copper mine, among its assets. BHP bought Australian copper-and-gold miner Oz Minerals for $6.34 billion in May last year, representing its biggest acquisition since 2011.
Copper prices are up some 15% so far this year, reflecting expectations that demand for the metal will rise as the world decarbonises and supply will be constrained. Electric vehicles and wind farms use copper in much greater quantities than gasoline-powered cars and coal-fired power stations.
Anglo American has been reviewing its assets in recent months, and has held early conversations with potential buyers for its storied De Beers diamond unit, which it values at more than $7 billion, The Wall Street Journal reported Thursday.
Activist firm Elliott Investment Management holds a stake in Anglo American worth roughly $1 billion, accumulated over several months and before BHP’s move on the miner, according to a person familiar with the matter. The firm is widely known for its campaigns to push companies for change to boost their stock prices. Its view of the Anglo American holding couldn’t be learned.
That said, a jump in Anglo American’s share price following BHP’s takeover offer indicates Elliott has already profited from its holding, potentially reducing any incentive for it to take any action until the outcome of BHP’s bid becomes clearer.
Anglo’s stock on Friday traded above the implied value of BHP’s offer, indicating the market expects a higher bid to emerge.
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