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The Other Side of the Qatari Sheikh’s Coin

November 12, 2012 by Angus Maguire

One of the most talked about stories on the London Antiques market finally broke cover over the weekend into the British broadsheet newspapers. Arguably the most-prolific and internationally-acclaimed collectors of Objets d’Art, Rare Books and Islamic Antiques the world has ever seen, Sheikh Saud Bin Mohammed al-Thani, a member of the Qatari ruling family, has now been served with a writ from a London High Court freezing his assets until vast debts owed to various auction houses are settled.

At the centre of the legal battle are three coin dealers who claim the Sheikh has failed to pay for almost $20 million worth of rare Classical coins – the Prospero Collection – sold in New York on 4th January 2012. It is claimed that he also owes approximately $42 million to Sotheby’s and a further $7 million to Bonham’s.

For those not familiar with the Sheikh’s influence on this market and the works he has amassed ostensibly for the various museums being built in Doha, Qatar, he is rumoured to have spent almost $2 billion in the decade up to 2005. Along the way he has acquired some magnificent art works including amongst others: the Clive of India flask at $5million, a rare complete set of Audubon’s Birds of America at $7million, the Roman marble statue known as the Jenkins Venus at $15 million, a Fabergé egg at $8 million, and an important collection of Man Ray photographs at $16.5 million.

But the current case may be not all that it seems. Whilst very little defence has so far been offered by his attorney, there may be other reasons at play to explain why one of the richest men on the planet has failed to settle his auction purchases. Jeffrey Gruder QC, prosecuting attorney for the three claimants A.H. Baldwin & Sons Ltd., Dmitry Markov and N&M Numismatics LLC, claims the Sheikh is nothing more than a ‘serial defaulter’ and an ‘inveterate gambler’ who ‘in a perverse way enjoys the process of bidding’. But whilst the Sheikh seems happy to make every effort to settle his debts with Sotheby’s by reportedly having placed up to $82 million of items with them as surety, he seems a little less interested in settling the outstanding $20million to the three claimants in this case.

Al-Thani’s attorney Stephen Rubin has attacked the case on the basis that the three dealers cannot enforce a contract of sale with his client as they were acting on behalf of an undisclosed third party consignor, and had merely ‘organised’ the sale. Rumours have abounded in the market for months suggesting that the Sheikh has withheld payment because of suspicions that the auction in which he bought the coins may have been rigged and prices pushed up fraudulently knowing the Sheikh would continue to bid anyway. A.H. Baldwin & Sons is not just a leading private dealer in the field but also a long-standing auctioneer of such items – a clear conflict of roles that may well have surfaced in this case.

Mr. Rubin’s claims may only be disproved once the real owner of the Prospero Collection steps forward as the Sheikh’s debtor. One version of events wonders whether the real owner may have already come forward. If so, then the claimants in this case may be exposed to a counter-action alleging that they attempted to sell their own goods, in their own public auction, thereby achieving incredibly inflated prices. It would be very interesting to see their under-bidders cross-examined in the witness box – assuming they exist of course.

Mr Justice Haddon-Cave will issue his judgement at a later date.

What Price Will the Last 20 Richter Abstracts Make?

November 6, 2012 by Angus Maguire

Angus Maguire is a  private art consultant based in London. He can be reached through  www.angusmaguireltd.com.

Far too much has been written lately on the economics of the incredible boom in prices for Gerhard Richter’s work – especially the later abstracts – both at auction and on the private market. But as rumours begin to percolate of a recent sale in London of a picture rated to be ‘in the top five works of his entire output’ in and around the $50m mark, perhaps it is time to reassess just how far this market can go, who is fuelling it, and how it may stop (assuming it will).

Charles Ponzi is credited as one of the great financial con artists of the last 100 years, his schemes mimicking a kind of pass the parcel game which relied on the fact that someone is left holding a package that got ever more expensive the more it passed from person to person. Suddenly, when the music stops, there is no one left to pass the parcel to. Simplistic I know but the ever-present mini-markets that inhabit the speculative end of the contemporary art market look to be based on the same short-sighted and potentially criminal understanding of business practice. But perhaps the granddaddy of contemporary painting is different.

Richter’s prices began to move as far back as 2002-3 when $300,000 would buy you a great later abstract measuring 120 x 80 cm. That work would now be marked at around the $5m level on the private market or $3-4m at auction. The same work may have gone unsold at the tag end of the last recession in 1993-4 at only $50,000. At this time only patriotic German collectors (as well as super-savvy international buyers) were interested but it was a new wave of collectors from USA and South Korea from 2002 that began the price correction that we are still witnessing. Then the Russians and Chinese piled in, and are continuing to do so.

Certainly the more domestic sized canvases will continue to sell well at auction at the $5m level as entry level collectors chase trophy works for their new-builds. At the very top, things may well peter out sooner rather than later. The artist produced 1600 of these abstract paintings, about 50% of which were produced in the years 1984-1995. The largest size canvases are in the region of 250 x 200 cm of which there are approximately 100 examples, 58 of which were produced in the most coveted years 1989-1995. Of these, 12 have already been sold at auction at prices where there is no one yet to pass the parcel to, and another 14 are in Museums and Institutions from where they will never be offered again. This leaves 32 extant works of which we need to discount about 10 examples as being weaker. So, all in all, there are roughly 20 masterpieces still to be offered, some of which may already have changed hands privately.

There is little doubt that the demand for these works is still there from new collectors who missed out on Richters when they were cheap. Combine this with a seemingly unlimited wall of money swishing around these emerging markets and it is hard to see an end to these ballooning prices. But the crucial question is whether the current demand can outstrip what is in fact still a large supply. If so, then prices will continue to push upwards, further encouraging owners to consign such works for sale at what are already inflated prices. Perhaps one of these masterpieces might make it to the $100m level, and perhaps there will be other examples of sales in the $80m region. We shall see. It was only last year that Francis Outred at Christie’s London made the extraordinary announcement that during his lifetime he expected to see an artwork sell for $1 billion.

One such masterpiece is appearing next week at Christie’s Evening sale (lot.15) at $12-$18m. It shouldn’t get up to the level seen at Sotheby’s in London for Eric Clapton’s incredible painting ($34m), but if it gets near then we know the game is still in play. Doubtless it will perform well, as will other examples over the forthcoming months but if the clients begin to dwindle before the supply runs out then we are in for a meltdown. Prices will fall off a cliff, as the music will have effectively stopped. Someone somewhere will be left holding a very oversized parcel.

Hero of Zero

February 8, 2010 by Angus Maguire

The notorious London-based art critic Brian Sewell has recently gone on record as suggesting that art auctions give very rich men a chance to tell their rivals ‘my cock is bigger than yours’. Everyone who knows Mr Sewell will agree that he has always been fascinated with the size of gentlemen’s genitalia, notwithstanding the incredible prices being realised in the current round of London sales.

RE 47 IIAs the dust begins to settle on last week’s Giacometti jamboree, it’s time for the Contemporary auctions to take their stand, and it seems that this week ‘it’s all about Klein’. The great Parisian avant-gardist of the post-war post-modern era has increasingly become the doyen of the Contemporary scene, posing as he does as the ultimate ‘classic contemporary’.Continue Reading

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