The market offers a lot of fine material that was bought for pleasure or utilitarian purposes of presentation. But for long-term investments such work is not fit to resell them will be difficult and at the auctions almost never take

• Source: reactor.cc
  

One of the most frequent questions asked by our visitors: "What we have now in the market sells well?"

liquid the authors of we recently wrote. And the rest of the response is typically characterized by conditionality: good quality items are sold at reasonable prices. Directions, periods, and genres can be any. Under the terms of "price and quality" the demand is there in the widest range — say, Gerasimov to Zvereva. In short, the answer is too General and few people are satisfied.

But the experience of AI held 115 Auctions you can specifically reply to another question of what art is difficult to sell now, and indeed in the last two years?

some examples of particularly complex for sale material:

1. Sketches, sketches, etc. some (not all) first names. The name is always important, but in the case of preparatory material it strongly pulls the price. Obviously it is clear that the price would be to ask high, but the quality will remain preliminary. Our view: other things being equal, it is preferable to buy good a complete thing of the artist of the second or third row than a sketch or outline of the brush over the venerable author. In other words, better a good finished Pyles, than very very sketchy in the dark. Or: strong Slepyshev is better than "not in the spirit of" Zverev for comparable money. From this rule there are, of course, notable exceptions: the sketches, say, Malevich or Vrubel will always be in high demand because of the rarity and great value of the authors.

2. Works of unknown artists (n/x). Buyers don't take because investment prospects these works do not have. And the organizers of the auction things without a name is also not interested: their cost is not high and the Commission they are not good to earn. Buy n/x only in two cases. First — if there is the prospect of authorship (and authorship of this that the game will be worth the candle). The second case — if the buyer is a pragmatic design goal (to make the bath or hunting Lodge), and the budget is very limited. Different reasons do not work here.

3. The works of Soviet realist without the expressed individuality. No need to take it as a criticism of socialist realism at — this period certainly gave masterpieces, and powerful authors such as, for example, Deineka or Pimenov. But he nevertheless gave the faceless tens of thousands of still lifes and landscapes, it is difficult to distinguish from each other. To tell who was their author, except for the signature. One time we tried to expose them, but consumer interest in them is not felt. In a word, if not of Nyssa, the demand will be low.

4. Contemporary artists no auction statistics. Alas, it is. And not only for young artists but also for Mature authors. The first thing that all do in such cases, — watch database of auction results. We understand that this is a classic vicious circle: on the auctions not taken because before that too did not take to the auctions. This circle sooner or later explodes in a natural way. Sometimes we even practiced a variant of "for the first time at auction". But the General rule remains unchanged: first exhibition, famous and collectors, and auctions. And the clumsy attempts to "spin" the author auction (the type to provide a guaranteed redemption) will not lead to success. And even Vice versa, can harm the artist's career.

5. Portraits of unknown persons. Especially male. If full-scale studies, it is almost a sentence for the commercial fate of the painting at auction. On the contrary, if the portrait depicts a well-known personality (for example, another artist), or written a charming female face, it may well find a buyer.

6. The subjects for which diverging expert opinions on the issue of authenticity. When one says Yes and the other — no. And both the authorities. Even if the organizer of the auction itself have enough knowledge to determine that the real thing, responsibility to take it still will not. Because with the buyer then to understand him, not the experts. And the buyer can be uncertain and controversial. In short, like it or not, but the situation is similar in commercial terms — stub. The thing with conflicting opinions of experts is not suitable for sale to a wide range of unqualified buyers, what actually happens at the auction. The owner can be advised to look for a buyer for it among the experts, who are ready to make decision without regard to the contradictions in the papers.

7. Printed in large editions prints with reserves over $ 50,000 authorship of Russian artists of international and national importance. This, of course, a very rough rule. In the chart draw a lot of factors has the value — and international recognition, and the plot, and the number of copies, and number of copies in circulation, and rarity, etc., etc., it is Clear that a small series known worldwide Kabakov or walked under this experiential limitation does not fall. There prices can be significantly higher. But for a lottery drawing the most famous artists marked 50 000 — is already high price level, even with the stock. So much can cost some prints Shemyakin, Nemukhin, Krasnopevtsev, Rabin, Dobuzhinsky. In turn, draw graphics less well-known authors (for example, Leonid Tishkov or Boris gutovskogo) is sold nowadays is much cheaper @the mdas in the region of 20 000, with an eye again on the circulation, the rare, the success of the plot and stuff.

8. Any items with a high reserve prices. Appeal to pre-crisis prices in dollars and logic "I would like to return your spent in 2007," no work today. Backup (i.e. minimally acceptable to the seller) prices should be based on existing in the moment realities. But the realities on the art-рынке such that the dollar still pictures to remember, but only in rubles at the rate of 35 rubles per dollar. What was once estimated to be 10,000 dollars today, with rare exception can be set only with a reserve of 350 000-400 000 rubles, and not 760 000. If the bidders will give the result much more expensive — wonderful. But will have to start from the most probable price.

the old-Timers of the market, after reading all this, definitely noticed that 10 years ago almost all of the above material, which is quite a good selling. During the initial accumulation of art buyers are really paying attention mainly on big names, the age works, but the way they were dealt with much worse. Ten years of evolution and gaining market experience, we see, — a short period, but he put a lot into perspective.

it appears that the sale of works from the list that appears absolutely hopeless cause? Or serious concessions in price still has the potential to radically affect the demand? Capable, but not drastically. Low reserve price really increases the chances of selling anything. That's just the auction business as the inexpensive material will still be not very interesting: on the listed things, he won't earn neither fame nor money. Hence, the acceptance of auctions will be reasonably twirl nose.

In the list a complex for sale of things not mentioned is another example. It is about works of authors, whose legacy is defended redundant family (heirs), or the Foundation of the artist, or other centers of power. If these centers of force will create a headache for the sellers, the sellers will be wise to avoid problematic material. What kind of headaches are we talking about? For example, the aggressive requirement of payments by the right route under existing conditions, undeveloped legal and accounting procedures. Or unfounded discredit expert opinions of other experts trusted by the market. Or barratry, in respect of copyright and related rights (prosecution for violation of reproduction rights of images, etc.). In General, the auction of desire to work with the artist or his representatives can affect any mood for confrontation, even legitimate. Fortunately, while such cases almost never occur. But in the near future, as tightening the same practice of charges for the right route, this behavior may present a threat to commercial fate of the legacies.

And finally appropriate, perhaps, more time to focus on the core issue that unites all of these "narodniki". In addition to the low liquidity of their constant companion — is absent or low investment potential. In other words, long-term investment they do not fit. Is that just for pleasure or utilitarian purposes of presentation.

Vladimir Bogdanov, AI