My Word Winter 2017

This issue has focused on art market reports for 2016 and the art market predictions for 2017. President Trumps election has had a significant impact on the stock market that has seemingly by some expert opinion translated to the art market. We will follow the private and public art markets to keep you informed.

Regardless of whether you lean to the left or the right we can all agree that Mr. Trump has not been or will probably never be a staunch supporter of the arts. While we wait for the shoe to drop we can only speculate what his unique brand of leadership will mean to the institutions we all mostly revere. To date the consensus seems to be that NEA and NEH might well be in trouble but that PBS will prevail. We are watching and will follow this in the coming months.

Quinn's Auction House in Falls Church is posting another offering March 15th with a scheduled sale date of March 25th. This sale will include a fascinating collection from Plant City Florida featuring some very fine baskets from Northern California and Alaska. The Leazer collection from Dallas is also a part of this collection and is the personal effort of Bill and his partner of over 40 years of acquiring from cultures all over the world.

In this issue we also mark the passing of Jack Pemberton and Tom Wheelock. Both were friends that made major contributions to the field of African Art.

Be sure to check out Photos Around the World in this issue.. pretty spectacular..

Our new intern Mary Mass did most of the heavy lifting on this issue of the Newsletter. We are delighted to have her working with us.

Tom Wheelock - In Memoriam Winter 2017

Amyas graciously permitted me to reprint his personal recollections of Tom. This was posted on the Facebook page Amyas African Art which I encourage you all to follow.

Tom and I were never close but were certainly congenial acquaintances. We both felt, however, that we had the very unusual opportunity of getting to know each other as we shared a common foxhole in the Trepel Baga Serpent case that found us pitted against formidable adversaries working for the plaintiff. I found the case challenging, interesting, and at times fun. Tom found this experience to be in his words one of the worst in his life and worthy of a commitment to three martinis after testifying. I thoroughly enjoyed his very dry sense of humor, his dedication to excellence, and his reverence for the finer things in life. Tom will be missed by many. JB

Remembering Thomas Wheelock
Albums Remembering Thomas Wheelock
1 Photo · Updated about a month ago
Many of us were shocked to learn this month that our colleague and friend, author, collector and connoisseur Tom Wheelock had died over Christmas. He was just 75. Tom was born in 1941 to family of means. His maternal grandfather was one of the original giants of Wall Street and had set up Tom’s parents in a capacious apartment on Manhattan’s Upper Eastside where, as Tom described it, his father spent his day reading the newspaper. To some degree followed in his father’s footsteps as a professional gentleman although he traveled far and never endeavored to raise a family. Wherever he did go Tom always impressed with his impeccable dress and physical bearing a man of class. He was fan of the opera, knowledgeable about the arts of Japan, Europe, Ancient Egypt and the classical world, and until the end he maintained a membership at the venerable Union Club on Park Avenue. While he did earn some income writing appraisals and providing curatorial advice these endeavors gave satisfaction more in the form of purpose than needed remuneration.

I first met Tom at the very start of my career as a stand maker in the early 1990’s. A Malian trader had dropped off a mask for me to mount and suggested that I might sell it for him. As the mask was allegedly Bobo, another visitor to my basement workshop, Noble Endicott, recommended that I show a Mr. Tom Wheelock as it was not unattractive. Despite the fact that I had doubts about the authenticity of the mask I was assured that Mr. Wheelock was an avid collector of art from Burkina Faso and would know right away whether or not the mask was right. If the piece proved to be good I would be rewarded. And if not? Mr. Wheelock, I was assured, was fair-minded and would not hold it against me provided I was straight forward about the circumstances. At worst I would meet someone who I ought to know and who might well become a client. I called and in due course a man in a tweed jacket and matching fedora appeared with an elegant woman in tow. When I showed him the mask his shoulders drooped and he shook his head, then looked me in the eye with that wry half smile I would get to know so well. Although he said nothing, silently mouthing the word no. It was apparent that he had been somewhat hopeful but at the same time was unsurprised. Unfortunately, as I had nothing else to show him, he turned to leave but paused and said, “But it IS very good to know you are here.” Tom was then in his early 50’s, very fit and lively demeanor. In due course Tom did bring me pieces to mount. The quality was unfailingly outstanding and set a high standard by which similar objects might be judged. I visited his office on the top floor of an eastside mansion. It was something of a lair as it was stuffed with wonderful artwork warmly but inadequately lit and otherwise decorated with an eclectic array of Japanese prints, paintings and, by the door, an erotic, sado-masochistic flavored collage or two.
 
I learned that Tom had begun collecting art at an early age but knew nothing of African art until 1972 when, after driving with a girlfriend across the Sahara, he ended up in Ouagadougou. There he made the acquaintance of a fellow American, William Wright who was then at an early stage of his own career as an African art dealer, gathering up quality crafts and authentic works in the bush and shipping them to the US. Tom looked through Bill’s inventory and was smitten by the art. It was then the early 1970’s, a golden time in the African art trade when a substantial amount of older, indigenously used traditional sculpture and artifacts could still be found in situ, particularly in countries like Burkina Faso and Liberia that for a variety of reasons had hitherto been relatively overlooked by dealers and collectors more fixated on the art of those peoples from Cote d’Ivoire, Gabon and Mali that had most influenced the modernists. Having been raised in a milieu more concerned with quality than thrift Tom began by focusing on acquiring the best, eschewing bargains and cultivating contacts through a willingness to pay for it. Over the next five years Tom made

frequent buying trips to Burkina, then called Upper Volta. For a time these visits proved rewarding both in terms of his personal edification as well as in great finds. Along the way a few wonderful things were passed up because of youthful errors of judgment or breakdowns in negotiations (after all, Tom’s interests were not unique) but these failures were as instructive as they were rare. Finally, on a trip in the late 70’s, when he found nothing that met his rising standards for quality, Tom concluded it was over: Henceforth, he would only buy in Europe and state-side from collectors, dealers and at auction. The reality was that Tom had only hit a dry spell. Fine, important, authentic works remained in the field in Burkina Faso as they did elsewhere, albeit it in ever shrinking numbers. Tom of course understood this but the adventure of setting himself up in a “villa” in Burkina’s capital had lost its novelty along with the all the necessary sorting of authentic material from the fake, the cleverly repaired from the intact, and the beautiful and bold from the merely typical. And there was also the strain of negotiating deals under time constraints in a borrowed language without the benefit of second opinions or a library of books. Enough was enough.

The other side of the coin was that by the 1970’s a few African traders had long since built up enough capital, confidence and contacts both local and international to no longer be content to sit at home waiting for buyers to arrive from abroad. If Tom wasn’t going to come to Ougadougou, Ouagadougou was going to come to Manhattan; in fact many African traders were already ensconced in America- not only in single-residency-only hotels on Manhattan’s Upper West Side; a few had bought properties in suburban New Jersey and elsewhere and were raising American families. As a result, Tom was able to meet with and buy from African traders on his home turf- including individuals he had known in Burkina, their siblings, sons and other introduced family members as well as wholly new acquaintances. Inevitably, there were traders with high quality merchandise of whom Tom did not know. In the 1990’s one such merchant, a Hausa from Niger based half the year in Burkina’s western hub of Bobo Dioulasso, appeared in New York with a trove of often wonderful and unusual material including both figurative and ethnographic works. For the next several years Aboubacar Doubou provided me with a steady supply of fabulous objects from Burkina, the best of which went to Tom. A number of these pieces would ultimately be included in Tom’s marvelous book: “Burkina Faso; the Land of the Flying Masks” (Prestel, 2007). In the book’s acknowledgements and notes, Tom remained true to his decent nature and sense of fair play, and included the names of the many traders, dealers and individuals from whom he purchased material directly over the decades regardless of their place of birth or stature, among them William Wright, Michael Rhodes, Mamadou and Ali Konate, and Gilbert Ouedrago.

No remembrance of Tom would be complete without mentioning his myriad and complicated relationships with women. These included many long-term girlfriends and no less than five marriages. Tom was a dapper and confident fellow with a dry sense of humor and a generous nature. He was a charmer who listened attentively with a ready smile and a willingness to equally embrace your point enthusiastically or disagree with aplomb. He was never in my experience in want of companionship. After abruptly leaving his fourth wife and setting up with number five, a reptile aficionado from the south with big hair, he decamped from Manhattan in the late 1990’s and alighted in Hudson, New York. We city folk saw much less of him thereafter especially after the couple moved yet again, this time to Tennessee where the spouse had a daughter and now a grandchild. Marriage number five did not unfold without drama. A flood inundated their house and destroyed much of Tom’s library. A few years later the relationship dissolved on less than amicable terms, but soon enough Tom found new companionship with Jannean Barnes. It was, he confided, his happiest union to date adding, “Given my history I know what you must be thinking I’m really very sincere.”

Despite his move to Tennessee, Tom continued to communicate with his friends in New York and to pay regular visits. I shared pictures with him of family vacations and we regularly discussed objects in auctions, on offer from traders , and still others in need of evaluation- matters in which he was generally of greater service to me than the other way around. While in the city Tom stayed at the venerable Union Club where he was a long-time member. A few years ago Tom called me out of the blue to say that he and number-five were in town for the week and had extra tickets to see La Boheme at the Metropolitan Opera the following evening. Tom was a member of the Opera Club and Eve and I were cordially invited to join them for dinner and desert there between acts. There was a catch: the club had a dress code and I would have to wear a tuxedo. Given that the only suit I own is the one I was married in and that it was nowhere near black I apologized and said that we would have to gratefully decline; there was no time to find a rental. However, Tom had already done some calculations: if I could get myself over to the Union Club where he was staying I could probably just fit into his tuxedo while he would wear his set of tails. All I needed was a pair of black shoes. A number of things struck my mind all at once: that this would surely be an evening we would not soon forget, that being invited was a rare honor let alone opportunity, and finally: what kind of person travels for a week away with both a tuxedo and coat and tails? I checked with Eve and she agreed to the plan. Somehow I got past the front desk at the club in shorts and made it to Tom’s small but elegant room. Wife-five was already resplendent in an evening gown. An inordinate number of handbags and ladies shoes were scattered about, although none of he latter were as yet on her feet. Tom’s tuxedo more or less fit me- the suspenders helped. Eve arrived and we were soon in a limo bound for Lincoln Center. The trip there proved to be an odyssey in and of its self as the wife had taken the wrong handbag and half way there we had to circle back. She apologized for the inconvenience, blaming the error on some undisclosed malady. She also had us stop at a bodega (for a soda) and a pharmacy en route. Now late we had to rush through the first course of dinner. Tom’s spouse opted for lemon sherbet in lieu of an appetizer. She had sherbet again as a main course, and a third time for dessert. Tom was unflappable. He showed compassion for his ailing spouse’s well being without a hint of panic or embarrassment through the opera’s final spectacle.

Recently, I learned that Tom had passed away in his sleep shortly before Christmas. We had last spoken in the fall about some unusual Burkina masks that had come up for auction in South Carolina and whose images I had sent to Tom for an opinion. Our conversation convinced me to buy none of them. Instead, I nabbed a Bobo Fing funerary mask (one we did not discus) from the same sale as it was beyond reproach. This mask retains much of its original fiber attachments and although a little askew it’s a powerful piece with layers of paint and a glorious interior patina from repeated service. My plan was to send him images of it once I had it on a base- I was sure that he would like it and anticipated a congratulatory response. I learned of Tom’s passing before any images were taken. The mask now stands on my desk mounted, open mouthed and mute, a reminder of the many deceased individuals it honored and the one whose acquaintance it never made.

Jack Pemberton - In Memoriam Winter 2017

 Note: Jack was a great friend, cheerleader, and mentor for me for many years and he surely will be missed. His particular style, sense of civility, and generosity to all will not be replaced for the many students, colleagues, friends, and acquaintances he touched. In respect and deference to the man I will attempt to be better color coordinated when I dress up in the future.  JB


John Pemberton III (1928 - 2016)
Obituary

PELHAM - John Pemberton III of Arnold Road, Pelham, died Wednesday, Nov. 30, 2016.

Professor Pemberton was born Feb. 16, 1928, in New Brunswick, New Jersey. He was the son of the Rev. and Mrs. John Pemberton Jr.

Professor Pemberton received a bachelor's degree from Princeton University in 1948. He received a bachelor's in divinity degree in 1952 and a doctorate degree in 1958 from the Duke University.

He was an assistant professor of religion at Randolph-Macon Woman's College from 1954 to 1958. He was a professor of religion at Amherst College from 1958 to 1998. He was the Andrew W. Mellon Professor of Humanities from 1985 to 1998 and the Crosby Professor of Religion from 1975 to 1998.

His extensive research related to the art and rituals of the Yoruba of Nigeria began in 1969. He was an associate fellow at the Institute of African Studies, University Ibadan, Nigeria, from 1981 to 1982. He was a visiting research associate, Ife, Ile-Ife, Nigeria, in 1986. During 14 research trips to Nigeria, his research continued in Ila Irangun, Nigeria.

Professor Pemberton served on the board of advisors at The National Museum of African Art, Smithsonian Institution. He was consulting curator of African art at the Smith College Museum of Art from 2000 to 2015. He was chair of the Working Group in African Studies in the Humanities, Social Science Research Council/American Council of Learned Societies. He was on the

Among his publications: Yoruba Nine Centuries of African Art and Thought co-authored with
Professor Pemberton lectured widely including the Art Institute of Chicago; the Cleveland Museum; the Dallas Museum; the High Museum of Art, Atlanta; Mount Holyoke College; Museum for African Art, New York; the National Museum of African Art, Smithsonian; North Carolina Museum of Art; Obafemi Awolowo University, Nigeria; Rietberg Museum, Zurich; Smith College Museum of Art; the Metropolitan Museum of Art, New York; the New Orleans Museum; the Seattle Museum; the University of Iowa; University of Pennsylvania; University of Virginia; University of Washington; and Yale University.

He is survived by Jane, his beloved wife of 47 years; his sons John Pemberton IV (Marilyn) and Robert Barker (Karin); his daughters Nanci Church (Thomas), Susan Winslow (Daniel), Debra Reehoorn (Robert), and Lynn Barker (Mark); 12 grandchildren; and his sisters Barbara Smith and Jane Buckley.

He was a longtime member of Grace Episcopal Church in Amherst.

A memorial service to celebrate his life will be held Dec. 8, at 3 p.m. at Grace Episcopal Church followed by a reception at Lewis-Sebring at Amherst College.
- See more at: http://www.legacy.com/obituaries/gazettenet/obituary.aspx?page=lifestory&pid=182945490#sthash.miSbD50l.dpuf
Smithsonian/Rockefeller Foundation Fellowship Committee of African Art and on the council for International Exchange of Scholars' Advisory Committee in Religion.

Rowland Abiodun and Henry Drewal; Yoruba Art and Aesthetics with Abiodun and Drewal, Museum Rietberg, Zurich; A Power Like That of the Gods: Sacred Kingship Among the Igbomina Yoruba co-authored with F.S. Afolayan; Insight and Artistry in African Divination, Smithsonian Institution Press: Cloth Only Wears to Shreds: Yoruba Textiles and Photographs from the Beier Collection co-authored with R. Abiodun; African Beaded Art: Power and Adornment, Smith College Museum of Art; Cross Currents: Art of the Southeastern Congo, Smith College Museum of Art; "Smith Collects African Art." Exhibition on the occasion of the opening of the Brown Fine Arts Center, Smith College Museum of Art.

John Pemberton III (1928 - 2016)

Obituary

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PELHAM - John Pemberton III of Arnold Road, Pelham, died Wednesday, Nov. 30, 2016.

Professor Pemberton was born Feb. 16, 1928, in New Brunswick, New Jersey. He was the son of the Rev. and Mrs. John Pemberton Jr.

Professor Pemberton received a bachelor's degree from Princeton University in 1948. He received a bachelor's in divinity degree in 1952 and a doctorate degree in 1958 from the Duke University.

He was an assistant professor of religion at Randolph-Macon Woman's College from 1954 to 1958. He was a professor of religion at Amherst College from 1958 to 1998. He was the Andrew W. Mellon Professor of Humanities from 1985 to 1998 and the Crosby Professor of Religion from 1975 to 1998.

His extensive research related to the art and rituals of the Yoruba of Nigeria began in 1969. He was an associate fellow at the Institute of African Studies, University Ibadan, Nigeria, from 1981 to 1982. He was a visiting research associate, Ife, Ile-Ife, Nigeria, in 1986. During 14 research trips to Nigeria, his research continued in Ila Irangun, Nigeria.

Professor Pemberton served on the board of advisors at The National Museum of African Art, Smithsonian Institution. He was consulting curator of African art at the Smith College Museum of Art from 2000 to 2015. He was chair of the Working Group in African Studies in the Humanities, Social Science Research Council/American Council of Learned Societies. He was on the Smithsonian/Rockefeller Foundation Fellowship Committee of African Art and on the council for International Exchange of Scholars' Advisory Committee in Religion.

Among his publications: Yoruba Nine Centuries of African Art and Thought co-authored with Rowland Abiodun and Henry Drewal; Yoruba Art and Aesthetics with Abiodun and Drewal, Museum Rietberg, Zurich; A Power Like That of the Gods: Sacred Kingship Among the Igbomina Yoruba co-authored with F.S. Afolayan; Insight and Artistry in African Divination, Smithsonian Institution Press: Cloth Only Wears to Shreds: Yoruba Textiles and Photographs from the Beier Collection co-authored with R. Abiodun; African Beaded Art: Power and Adornment, Smith College Museum of Art; Cross Currents: Art of the Southeastern Congo, Smith College Museum of Art; "Smith Collects African Art." Exhibition on the occasion of the opening of the Brown Fine Arts Center, Smith College Museum of Art.

Professor Pemberton lectured widely including the Art Institute of Chicago; the Cleveland Museum; the Dallas Museum; the High Museum of Art, Atlanta; Mount Holyoke College; Museum for African Art, New York; the National Museum of African Art, Smithsonian; North Carolina Museum of Art; Obafemi Awolowo University, Nigeria; Rietberg Museum, Zurich; Smith College Museum of Art; the Metropolitan Museum of Art, New York; the New Orleans Museum; the Seattle Museum; the University of Iowa; University of Pennsylvania; University of Virginia; University of Washington; and Yale University.

He is survived by Jane, his beloved wife of 47 years; his sons John Pemberton IV (Marilyn) and Robert Barker (Karin); his daughters Nanci Church (Thomas), Susan Winslow (Daniel), Debra Reehoorn (Robert), and Lynn Barker (Mark); 12 grandchildren; and his sisters Barbara Smith and Jane Buckley.

He was a longtime member of Grace Episcopal Church in Amherst.

A memorial service to celebrate his life will be held Dec. 8, at 3 p.m. at Grace Episcopal Church followed by a reception at Lewis-Sebring at Amherst College.

- See more at: http://www.legacy.com/obituaries/gazettenet/obituary.aspx?page=lifestory&pid=182945490#sthash.miSbD50l.dpuf

PELHAM - John Pemberton III of Arnold Road, Pelham, died Wednesday, Nov. 30, 2016.

Professor Pemberton was born Feb. 16, 1928, in New Brunswick, New Jersey. He was the son of the Rev. and Mrs. John Pemberton Jr.

Professor Pemberton received a bachelor's degree from Princeton University in 1948. He received a bachelor's in divinity degree in 1952 and a doctorate degree in 1958 from the Duke University.

He was an assistant professor of religion at Randolph-Macon Woman's College from 1954 to 1958. He was a professor of religion at Amherst College from 1958 to 1998. He was the Andrew W. Mellon Professor of Humanities from 1985 to 1998 and the Crosby Professor of Religion from 1975 to 1998.

His extensive research related to the art and rituals of the Yoruba of Nigeria began in 1969. He was an associate fellow at the Institute of African Studies, University Ibadan, Nigeria, from 1981 to 1982. He was a visiting research associate, Ife, Ile-Ife, Nigeria, in 1986. During 14 research trips to Nigeria, his research continued in Ila Irangun, Nigeria.

Professor Pemberton served on the board of advisors at The National Museum of African Art, Smithsonian Institution. He was consulting curator of African art at the Smith College Museum of Art from 2000 to 2015. He was chair of the Working Group in African Studies in the Humanities, Social Science Research Council/American Council of Learned Societies. He was on the Smithsonian/Rockefeller Foundation Fellowship Committee of African Art and on the council for International Exchange of Scholars' Advisory Committee in Religion.

Among his publications: Yoruba Nine Centuries of African Art and Thought co-authored with Rowland Abiodun and Henry Drewal; Yoruba Art and Aesthetics with Abiodun and Drewal, Museum Rietberg, Zurich; A Power Like That of the Gods: Sacred Kingship Among the Igbomina Yoruba co-authored with F.S. Afolayan; Insight and Artistry in African Divination, Smithsonian Institution Press: Cloth Only Wears to Shreds: Yoruba Textiles and Photographs from the Beier Collection co-authored with R. Abiodun; African Beaded Art: Power and Adornment, Smith College Museum of Art; Cross Currents: Art of the Southeastern Congo, Smith College Museum of Art; "Smith Collects African Art." Exhibition on the occasion of the opening of the Brown Fine Arts Center, Smith College Museum of Art.

Professor Pemberton lectured widely including the Art Institute of Chicago; the Cleveland Museum; the Dallas Museum; the High Museum of Art, Atlanta; Mount Holyoke College; Museum for African Art, New York; the National Museum of African Art, Smithsonian; North Carolina Museum of Art; Obafemi Awolowo University, Nigeria; Rietberg Museum, Zurich; Smith College Museum of Art; the Metropolitan Museum of Art, New York; the New Orleans Museum; the Seattle Museum; the University of Iowa; University of Pennsylvania; University of Virginia; University of Washington; and Yale University.

He is survived by Jane, his beloved wife of 47 years; his sons John Pemberton IV (Marilyn) and Robert Barker (Karin); his daughters Nanci Church (Thomas), Susan Winslow (Daniel), Debra Reehoorn (Robert), and Lynn Barker (Mark); 12 grandchildren; and his sisters Barbara Smith and Jane Buckley.

He was a longtime member of Grace Episcopal Church in Amherst. - See more at: http://www.legacy.com/obituaries/gazettenet/obituary.aspx?page=lifestory&pid=182945490#sthash.6sM2swCd.dpuf

PELHAM - John Pemberton III of Arnold Road, Pelham, died Wednesday, Nov. 30, 2016.

Professor Pemberton was born Feb. 16, 1928, in New Brunswick, New Jersey. He was the son of the Rev. and Mrs. John Pemberton Jr.

Professor Pemberton received a bachelor's degree from Princeton University in 1948. He received a bachelor's in divinity degree in 1952 and a doctorate degree in 1958 from the Duke University.

He was an assistant professor of religion at Randolph-Macon Woman's College from 1954 to 1958. He was a professor of religion at Amherst College from 1958 to 1998. He was the Andrew W. Mellon Professor of Humanities from 1985 to 1998 and the Crosby Professor of Religion from 1975 to 1998.

His extensive research related to the art and rituals of the Yoruba of Nigeria began in 1969. He was an associate fellow at the Institute of African Studies, University Ibadan, Nigeria, from 1981 to 1982. He was a visiting research associate, Ife, Ile-Ife, Nigeria, in 1986. During 14 research trips to Nigeria, his research continued in Ila Irangun, Nigeria.

Professor Pemberton served on the board of advisors at The National Museum of African Art, Smithsonian Institution. He was consulting curator of African art at the Smith College Museum of Art from 2000 to 2015. He was chair of the Working Group in African Studies in the Humanities, Social Science Research Council/American Council of Learned Societies. He was on the Smithsonian/Rockefeller Foundation Fellowship Committee of African Art and on the council for International Exchange of Scholars' Advisory Committee in Religion.

Among his publications: Yoruba Nine Centuries of African Art and Thought co-authored with Rowland Abiodun and Henry Drewal; Yoruba Art and Aesthetics with Abiodun and Drewal, Museum Rietberg, Zurich; A Power Like That of the Gods: Sacred Kingship Among the Igbomina Yoruba co-authored with F.S. Afolayan; Insight and Artistry in African Divination, Smithsonian Institution Press: Cloth Only Wears to Shreds: Yoruba Textiles and Photographs from the Beier Collection co-authored with R. Abiodun; African Beaded Art: Power and Adornment, Smith College Museum of Art; Cross Currents: Art of the Southeastern Congo, Smith College Museum of Art; "Smith Collects African Art." Exhibition on the occasion of the opening of the Brown Fine Arts Center, Smith College Museum of Art.

Professor Pemberton lectured widely including the Art Institute of Chicago; the Cleveland Museum; the Dallas Museum; the High Museum of Art, Atlanta; Mount Holyoke College; Museum for African Art, New York; the National Museum of African Art, Smithsonian; North Carolina Museum of Art; Obafemi Awolowo University, Nigeria; Rietberg Museum, Zurich; Smith College Museum of Art; the Metropolitan Museum of Art, New York; the New Orleans Museum; the Seattle Museum; the University of Iowa; University of Pennsylvania; University of Virginia; University of Washington; and Yale University.

He is survived by Jane, his beloved wife of 47 years; his sons John Pemberton IV (Marilyn) and Robert Barker (Karin); his daughters Nanci Church (Thomas), Susan Winslow (Daniel), Debra Reehoorn (Robert), and Lynn Barker (Mark); 12 grandchildren; and his sisters Barbara Smith and Jane Buckley.

He was a longtime member of Grace Episcopal Church in Amherst. - See more at: http://www.legacy.com/obituaries/gazettenet/obituary.aspx?page=lifestory&pid=182945490#sthash.6sM2swCd.dpuf

Trend Predictions Winter 2017

1. NEW YORK - Specialists Speak: 2017 Trends & Predictions in Collecting

This year was a pivotal one for the art and auction world. Saatchi Gallery held its first all-female

show in January. David Bowie’s death rendered him one of the most talked-about artists of the year. May was a game-changing month for rare jewels - the 14.62-carat “Oppenheimer Blue” diamond sold for $57.5 million at Christie’s; at Sotheby’s, the 15.38-carat “Unique Pink” diamond sold for $31.6 million.

The news of the Brexit vote in late June caught the world by surprise, and caused a rippling of concerns across stakeholding nations. In October, TEFAF journeyed to New York City for the first time ever. The sale of Claude Monet’s “Grainstack” for $81.4 million in November underscored that even in an uncertain market, collectors will vie at the top level for superior quality.

We spoke with the founders and head specialists at 14 of our partnering auction houses and galleries to get their thoughts on the most exciting trends of 2016 and what they forecast to be the next big ones to come.

Debrah Dunner
Fine Art Specialist | Alex Cooper
"The trends in 2016 have been pretty consistent from the previous year, and I don't see much change happening in 2017. Collectors are focusing their efforts on a few areas including Impressionism, Post-War, and Contemporary Art. Although this year saw a small drop in buying overall, there is enough trust in the market, coupled with the rise of the American stock and housing market, to predict a continued rise in both confidence and buying."

"As a specialist of contemporary American craft, I have noticed a small uptick in both buying and realized prices of American craft's most notable artists such as Wendell Castle, Sheila Hicks, and Peter Voulkos, to name a few. The gallery side is where American craft really shines, so it's interesting to see this area of the art world get more attention in the auction venue."
François Tajan

Deputy Chairman | Artcurial
“Fine art, design, classic cars, and comics appear to have been the most exciting specialties for 2016. Artcurial achieved a world record for a collectible car at auction this winter, which fetched €32 million, and our second European comics auction in Hong Kong in October was a huge success.”

“This year’s important names, such as Diego Giacometti, Belgian cartoonist Hergé, and Enzo Ferrari, show there’s an active market not only for specific fields, but also for the artists and designers’ whose impact goes beyond their respective specialty. I expect this trend to continue in 2017, as collectors show particular interest in 20th-century works.”

Sam Berkovitz
Owner | Concept Art Gallery
“In 2017, I predict we’ll see continued growth and strong sales for the Chinese fine and decorative arts markets, with much of the property returning to Chinese nationals and the expatriate Chinese.”

“Online bidding continues to grow in percentage of lots purchased and amount of revenue. This will further reduce the live attendees at auctions as bidders adopt the convenience of telephone and online bidding.”

“Modern and contemporary art before 2005 will continue to sell strongly, while traditional furniture and artwork continue to remain flat. Artwork by artists without substantial credentials and reputations will remain difficult to sell. Jewelry sales will continue to grow as buyers get more comfortable buying at auction. Auctions will gain an increasingly large segment of the overall market for jewelry.”

Ezra Chowaiki
Owner | Chowaiki & Co.
“In the secondary art market, people are tending to focus on blue chip artists. In terms of investment, a name like Pablo Picasso, Andy Warhol, or Gerhard Richter is much more comforting than the lesser-known artist. In fact, even contemporary collectors are looking backward now to include some of the great modern names in their collections.”

"I expect this trend for the secondary market to continue. Until we truly know what the world looks like once the political landscape stabilizes, collectors are going to feel a certain level of uncertainty. This is not a short-term issue."

"I expect this to continue throughout 2017; and so, I see more of the same gravitational pull towards tried-and-true investments. Therefore, big-name artists will continue to appreciate most dramatically."

Alasdair Nichol
Vice Chairman, Head of Fine Art | Freeman's
“In a year of political turbulence which saw both the Brexit vote and U.S. election, it was evident that many people were sitting tight and reluctant to sell. The most recent Modern/Impressionist and Contemporary auctions in New York City were almost 50 percent down from where they were at this time last year. The issue this year was a lack of supply. There was abundant demand for sensibly estimated artworks of good quality preferably coming fresh to the market - the best will always be aggressively pursued even in a down market.”

“Single owner collections with either an interesting provenance or compelling backstory - and preferably both - performed exceptionally well at all price points. Sotheby’s David Bowie auction is a notable example of that. Such sales have the added benefit of bringing out new bidders captivated by the abundant stories surrounding them and desirous of the lustre attached to the previous owner.”

“Looking ahead, confidence in the Old Masters market has taken a blow and will continue to be undermined by the gradually unfolding story of the fakes believed to originate from Italy - the purchaser of the “Portrait of a Man” attributed to Frans Hals sold by private treaty at Sotheby's has already been reimbursed $11 million or so that it cost him. About 20 to 25 other fakes are rumored to be in existence and this will cast a shadow. It will likely be one of the art world’s biggest stories.”

“On a more positive note, it has been a good year for modern British artists from Nicholson and Moore to School of London painters such as Auerbach and Hockney. Collecting areas such as the St. Ives School and the Scottish Colorists have also performed well. Many new American collectors are entering this field and it is likely that even more will join them given the favorable dollar to sterling exchange rate. In spite of the political upheaval, the special relationship will endure.”

Nicholas B. Nicholson
Senior Vice President, Head of Furniture & Decorative Arts | Freeman's
"In quarter four, we continued to see consistent growth in prices realized for 20th-century design including continued strong performance by George Nakashima. We also see solid performance in the field of Americana with fresh pieces bringing solid prices."

"Since last spring, we have noted quiet growth in English furniture and silver. There appears to be the beginning of a renewed interest in the field, no doubt spurred by good material and the current low prices."

Lauren Pressler
Specialist in Furniture & Decorative Arts | Clars Auction Gallery
"As we found at Clars in 2016, 20th-century studio furniture remains strong; George Nakashima, Philip Lloyd Powell, and Sam Maloof continue to increase in value with projected market escalation in 2017. Contemporary boutique designers such as Edward Barnsley and Hal Taylor enjoy the popularity of these trend setters. While mid-range ‘brown furniture’ continues to slump, definitively, buyer inclinations underscore the handmade, smartly crafted one-off studio furniture that conveys a sense of character."

"Keep your sights on specialty wine and automobile markets, as last year’s strong successes predicate fruitful growth in 2017, with a roll-call of great producers and private collections slated for the New Year."

"2017 is a great time to invest in 20th-century Indian, Iranian, and African-American artists. Just this October, Clars boasted the $10,890 sale of an oil painting by Iranian artist Abolghassem Saidi, far exceeding the $3,000-5,000 estimate. We see leading houses gearing up for these specialized auctions, setting precedents for the rest of the industry."

Mike Fredericks
Department Head, Rare Lamps & Glass | James D. Julia
“Collectors today continue to seek out conservatively estimated, fresh-to-the-market merchandise, and are focused on the most rare and best condition examples in each genre. Our most recent auction of November 2016 illustrates this point, with a Tiffany Studios Dragonfly lamp estimated at $120,000-180,000 being hotly contested among multiple bidders before selling for $515,475. Each category, be it French cameo glass or sterling silver, proved the same, with the rarest and best condition items exceeding estimates to result in a $3.3 million total, our department’s highest grossing sale in history.”

“As we come to the end of the year, there seems to be encouraging energy in the collector community with hope that the election results will have a positive impact on the current market values and free up more discretionary income for middle-market buyers.”

“I believe the high-end market will continue to stay strong in 2017, while middle-market goods may continue to be soft until the political environment and economy stabilize following the transition. Overall, sellers should embrace the concept of conservative estimates that garner enthusiasm and participation from today’s buyers. I also see upward momentum with contemporary glass market with strong prices being realized.”

Charlotte Riordan
Contemporary Art & Paintings Specialist | Lyon & Turnbull
"Post War and Contemporary art still remains the most active area of the market. They are our best attended and buzziest sales and have some of our strongest selling rates. In the age of internet and telephone bidding, a full sale room is always a pleasant sight!"

"The Bowie sale inevitably made a big impact on the art market, and I believe was good news for collectors of modern Scottish artists including John Bellany, Alan Davie, and Eduardo Paolozzi, who were featured prominently in his collection. We handle these artists frequently and while we have been witnessing an upturn in the sales of their work, Bowie’s seal of approval may gain them even wider recognition."

"In the antiques world, we’ve been noticing our client’s taste turning to more simply constructed furniture. They are paying more attention to form and line rather than ornamentation, which fits better in modern interiors. Early Georgian pieces are an example of this."

"We end the year on a high with our flagship Scottish Paintings and Sculpture sale which features select works from the 18th to the 20th century. The work of the Scottish Colorists is proving as popular as ever and we anticipate them being the sale highlights, continuing the excellent run we’ve had for them this year after our sale of the Wood and Robertson Collections in June."

"On that topic, though a good or interesting provenance has always been desirable, we’re noticing an increase in its effect across all of our sales, boosting values more than ever before. People seem to be engaging more with the story behind the pieces as well as the quality."

Nigel Freeman
Director of African-American Fine Art | Swann Auction Galleries
“There is a new embrace by collectors of politically-conscious fine art, a reflection of our turbulent times, whether it's art from the Civil Rights era or today. This can be seen at the upcoming exhibitions of the Whitney Biennial and ‘Soul of a Nation’ at the Tate.”

“The next big thing in 2017 should be a larger international embrace of African- and Latin-American currents as American art continues to be redefined.”

Daile Kaplan
Director of Photography & Photobooks | Swann Auction Galleries

“Given photography’s ubiquity today, we are seeing an increasingly diverse market of collectors. Typically, new collectors are attracted to a particular image or style and are anxious to learn more about the artist or photographer. These buyers are drawn from a range of fields, including American painting, contemporary art, Outsider and Folk art, graphic arts and design, and antiquarian books.”

“Condition, rarity, provenance and artist reputation drive collectors and influence their decisions. The best examples of fine art and social documentary photographs - both vintage and modern prints with a fascinating backstory - as well as dynamically designed photobooks by master and emerging artists will escalate in value. Vernacular photography, a sub-set of classical photography, will continue to attract younger collectors, especially those who are looking for a point of access into the market and enjoy the sense of discovery associated with images that celebrate the medium as a universal language.”

Edo Ophir
Owner | Ophir Gallery
"The top trend that we are seeing today in the field of art, antiques, collectibles, and jewelry is that the top tier of these categories is what’s continuing to sell well in the marketplace. Truly the best and highest quality objects are what seems to be holding their own. Marginal and mediocre objects in the marketplace have taken a significant hit as per salability."

"Collectors today are more sophisticated than they once were and tend to be investing their money into top tier or very high end as these trends show that there is stability and growth in pricing with those items that fall under high end or investment quality. In the realm of Tiffany Studios, which is one area in which we specialize, we are seeing fewer buyers for the general run of the mill…but when we are able to offer top tier, rare, and high end objects to our collectors, we tend to sell well and fast."

Amelia Jeffers
Auctioneer & President | Garth's & Selkirk Auctioneers & Appraisers
“Although we handle a broad range of material at Garth's and Selkirk, each auction house tends to have a niche or two for which they are known very well. At Garth's, it is Americana, antique firearms, and jewelry. The firearms market continues to be very strong, and the exuberance does not seem to be slipping in any way. Within the Americana market, Folk art items continue to have considerable interest, particularly early painted furniture, but redware and stoneware are also on fire.”

“Since fine jewelry covers commodities like gold, silver, and gemstones, it has the image of being a safe place for collectors to park their cash. Even as the economy has picked up, jewelry has remained a bright spot in the collecting world. At Selkirk, bidders get excited about good paintings, high-style decorative arts, and silver. The demand for each of these categories is deep and should continue well into 2017.”

“Period furniture should continue its steady climb back from the recession bottom as more and more people matriculate to collecting as a way to find greater value in their furnishings. Glass is continuing to climb, as well - with the very best art glass pulling into the forefront of auctions and shows. I do think the firearms, jewelry, and fine art markets have no slow down in the near term.”


Jenn Singer
Owner | Jenn Singer Gallery
“While figurative painting continues to make a much-welcomed return, colorful abstract and sculptural work is still in demand. Activist artwork and artwork by female artists and artists with diverse cultural backgrounds are being increasingly featured and sought after.”

“Given the current social and political climate, art with a voice – a strong activist message - is and will continue to be on the rise. It will be gritty, raw, and emotional and hopefully help engage and connect more people through art. In this case, the importance of the message may trump the market as we know it.”

Sandra Germain
Owner | Shannon's Fine Art Auctioneers

“We have seen increased interest in high quality illustration art from our clients. In our most recent auction in October 2016, one of our top performing lots was a group of 25 original illustrations of vintage automobiles by Thomas Hoyne. Hoyne is primarily known for his photo-realistic illustrations of sailing vessels. We had several interested clients before the sale and were thrilled when the final price doubled the high estimate, bringing $32,400.”

“Another popular item from the sale was John James Audubon's ‘Portrait of Miss Audubon.’ Few portraits are known by the famous wildlife illustrator, including this portrait of his daughter. It, too, sold well above the high estimate, bringing $19,200. Although this work is not an illustration, artists of the illustration genre brought healthy interest at our most auction.”

“Trends are constantly changing and it’s hard to know exactly what buyers will be looking at in 2017. Modern and Contemporary art is certainly dominating the market and will probably continue to do so in the near future. We have found, however, that quality paintings across all genres achieve the best results at auction. Buyers are looking for fresh-to-the-market, good condition, and superior quality examples.”

Holly Mazar-Fox & Linda Rodeck
Client Services & Business Development
Senior Canadian Fine Art Specialist, Vice President Fine Art
Waddington's Auctioneers & Appraisers
“A few years back, you might have heard collectors, dealers, and auctioneers lamenting the fact that the supply of great art was drying up. The talk was that there was increasingly less fresh blue chip work available to sell and auctions would eventually devolve into re-offering or ‘churning’ bought-ins and other stale stock. Clearly that prediction was erroneous.”

“In Canada, the fall 2016 auction season saw over $50 million change hands in a three-day period. This was unprecedented. And we know that great prices realized at auction serve as honey to the bee, drawing out long hidden treasures ripe for consignment. Across the board, at all prices levels: quality always rules.”

“We’re also witnessing an increasing openness to subjects, periods, and media that may have been overlooked in the past. There is a greater appetite for the atypical or off-trend, provided these items possess a high calibre of artistic competence. This openness makes us feel buoyant about the next quarter."

"Our clients are increasingly catholic in their taste, exhibiting a high degree of self-determination when it comes to collecting and acquiring across multiple categories. They have both a willingness and capacity to spend and they respond to the bounty of property we bring to them with an enthusiasm and exhilaration we haven't seen in some time. We’re obsessed about how to improve the auction experience and know that leveraging technology is key – our prediction is that this pull towards innovation will continue to strengthen in 2017!”

http://www.invaluable.com/blog/specialists-speak-2017-trends-and-predictions/

Art Market Winter 2017

1. LONDON - Art Market Recovering? London May Tell (Auctions include Klimt, Picasso, Le Corbusier)

Asian collectors have become such a force in the global art market that the world’s chief auction houses are rejiggering their sales calendars to suit them. London’s winter auctions, historically held in early February, were postponed this year so that the sales wouldn’t overlap with the lunar new year. Those hoping to see signs of a turnaround in the ailing art have had to wait a little longer.

London’s latest round is set to kick off Tuesday, with Sotheby’s, Christie’s and the smaller house Phillips expecting to sell at least $593 million worth of impressionist, modern and contemporary art combined, down 4.4% from a similar, $620 million series held a year ago.

A few heavyweight paintings will likely soak up much of the attention, but in more than a dozen cases, the houses have already locked in deals to ensure that certain works sell—to outside investors who have pledged to bid if no one else steps up or to the houses themselves, which have agreed to buy them as inventory. These guaranteed sellers include Gustav Klimt’s 1907 view of a farmer’s field, “Cottage Garden,” which Sotheby’s plans to resell for around $45 million on Wednesday. Plenty of other artists will undergo market stress tests by the time the sales end March 10. Here are a few works to watch.​

A. Le Corbusier, ‘Accordion, Carafe and Coffee Maker.’ Auction house Christie’s has packed its Tuesday sale of impressionist and modern art with household names. There’s Paul Gauguin’s 1892 view of a Tahitian “House,” estimated to sell for at least $14.9 million, and Henri Matisse’s 1944 “Young Girl With Anemones Against a Purple Background,” put at $6.2 million or more. The sleeper hit of Christie’s sale may be works by Le Corbusier, an artist better known as an architect, whose paintings rarely come to auction. Christie’s plans to test collectors’ appetites with a trio of his oils, including this 1926 still life, estimated to sell for at least $1.9 million.

B. Pablo Picasso, ‘Tomato Plant.’ Natural light matters when it comes to putting a price on real estate—or art. Consider Picasso’s series of World War II-era tomato plant paintings. Eleven years ago, Christie’s asked up to $7 million for the artist’s gloomy, 1944 rendition of a drooping “Tomato Plant”—and sold it for $13.5 million. Now, Sotheby’s has consigned this earlier, sun-dappled version of the same plant under the same title, and Helena Newman, chairwoman of Sotheby’s Europe, expects the house can get between $12.4 million and $18.6 million for it. “Our plant is healthier and happier,” she said.

C. Miquel Barceló, ‘Muletero.’ Toro, toro! All three houses are offering up paintings of bullfight arenas by the Spanish painter, a neo-expressionist whose series of arenas started gaining fame in the 1990s for blending figuration with abstraction. At a glance, Mr. Barceló’s arenas look like sandy orbs, but details emerge on closer inspection. Five years ago, collectors were paying as much as $6.3 million for works from this series, but the houses are asking far less now: Phillips wants at least $3.1 million for this 1990 work that its seller won at Sotheby’s for $3.7 million six years ago. For its part, Sotheby’s is asking at least $621,800 for Mr. Barceló’s 1990 “In the Middle,” and Christie’s expects its “Chest-level Pass,” from the same year, to sell for at least $1.2 million.

https://www.wsj.com/articles/a-reckoningin-london-1487959981

2. NEW YORK - Asian Buyers Do Half Their Auction Business in Europe or the US

Sotheby’s earnings call has this data on the importance of Asian buyers to the overall art market:

48% of purchases by Asian clients took place outside of our Hong Kong salesroom, a trend that we began to see in 2013;And of the top ten works sold by Sotheby’s in 2016, half were purchased by buyers from Asia.Moreover, we are very pleased that our relationship with our new largest shareholder has already been helpful to us in China.

https://www.artmarketmonitor.com/2017/02/27/asian-buyers-do-their-half-their-auction-business-in-europe-or-the-us/

3. NEW YORK - New Report Projects Art Market Growth in 2017—Here’s Why

Here’s a sentiment you probably haven’t heard in awhile: “2017 may actually be a very stable, nice year.”

That’s the conclusion drawn by Doug Woodham, former Christie’s president of the Americas, from this year’s ArtTactic Global Art Market Outlook, released this week. Amidst the current political turmoil and economic uncertainty, he said, the art market could be an island of stability.

Of course, art market players aren’t oblivious to the current state of affairs; political and economic uncertainty ranked highest on 2017’s list of risks to the art market. And while stock markets have been rising despite the unexpected results of the Brexit referendum and the U.S. election, “there’s also a deeply emotional aspect” to art buying, said Anders Petterson, founder and managing director of ArtTactic, noting that the global art-collecting elite could be feeling shaken by geopolitical events.

Still, the overall tone, which surveyed 182 art-world participants, including collectors, advisors, dealers, and auction house professionals, was what you might call “cautiously optimistic.” Here are five key takeaways from the report.
Things are looking up

The survey found a positive outlook across all 10 regional markets it surveyed, with the most positive sentiment emanating from Africa, South Asia, the U.S., and Latin America. Overall, 59% of those surveyed described the global outlook for 2017 as positive, and only 8% as negative. That’s a substantial 18-percentage-point increase in optimistic sentiment from January 2016, but a marginally less rosy outlook than two years prior, when 66% of those surveyed were optimistic about the prospects for what turned out to be a disappointing year.

Many factors are in place to further induce the “wealth effect” that can bolster art buying, especially in the U.S., the largest art market by value. Those include rising equity markets, as well as rising home prices and low unemployment. The International Monetary Fund recently increased its forecasted GDP growth in the U.S. to 2.3% in 2017 and 2.5% in 2018. And an improving macroeconomic environment could give collectors additional psychological impetus to buy.

“Art is entirely a discretionary purchase,” said Woodham. “People need to feel comfortable with their wealth position to buy art.” Furthermore, the current low-interest rate environment makes a non-interest-bearing asset like art more attractive to own, although he warns that could shift if interest rates move up significantly, something the U.S. Federal Reserve has indicated is on the horizon.

One last reason for the optimism? It can’t possibly get any worse than 2016. Last year “was quite a difficult, challenging year for the art market,” said Petterson, and many art market players feel “the market has bottomed out.”

The lower end of the market could stabilize

Optimism regarding the more accessible segment of the art market—works priced below $10,000—swelled for 2017, rising to 56% from 44% in 2016. Woodham said some of that momentum could be driven by what he calls “nesters,” people are looking to fill the walls of a newly bought or renovated property.

“They live in a world where they’re aware of art and they want to own some meaningful art,” he said, such as a print or a work by an emerging artist.

Optimism grew in every segment except at the very top. There are several explanations for this, one being that supply for works about $1 million may take longer to recover than demand at lower price points and that collectors may feel comfortable enough in a rising market to move away from relatively low-risk masterworks and back to pieces in the middle of the market and by emerging artists.

The top end is flattening

Meanwhile, at the high end of the market (works valued at $1 million and above), sentiment turned neutral. Just over half of those surveyed saw that segment flattening out in 2017, compared with a third in 2016. A smaller share was optimistic that segment of the market will rise, down to 37% from 46%.

Woodham said a series of auctions in which lots sold at their minimum bid is keeping discretionary sellers on the sidelines. Those who can afford to hold on to their works are likely waiting for a major sign of confidence in the market before jumping back in, or are looking to private sales where they have more control over pricing.

Uncertainty looms in the background

Political and economic uncertainty are once again the headline risks for 2017, only this year they switched places (for 2016, economic uncertainty was at the top). The name “Trump” appears eight times in ArtTactic’s 15-page report, and it cites “a new level of political and economic uncertainty” that “is likely to dominate the world in 2017, something that could have serious ramifications for the confidence in the art market in years to come.” The report also highlights rising populism across Europe and its influence in upcoming elections in France, Germany, and the Netherlands as factors likely to intensify the political uncertainty in the air.

Art businesses continue to pursue strategic opportunities in other markets

In 2016, auction sales of modern and contemporary art in the U.S. and U.K. dropped by 30% and 41%, respectively, according to the report. Although sentiment was still mostly positive-to-neutral for those two major markets, Petterson said he saw auction houses and large galleries looking to build up their presence in other regions, and target specific buyers from emerging markets. He cited the rescheduling this year of the auction houses’ February London sales to avoid clashing with Chinese New Year celebrations as one way they were adjusting.“There are these signs of opportunities in the market despite the difficult political environment,” he said.And despite the anti-globalization sentiment (“global citizen” has almost become a pejorative, Petterson, a Norwegian living in London, noted), it is institutions like Christie’s or Sotheby’s that are best poised to pursue a global strategy, thanks to their existing global footprints and their staffs’ wide-ranging expertise.“To compete in today’s world, where you need a presence in loads of markets [and the ability to] adapt to many buyers’ motivations, you have to have resources and the auction houses probably have the upper hand at the moment,” he said.Blue-chip galleries are putting up a good fight, too, through art fairs and global expansions, but he noted this type of hyper-competitive environment put smaller and medium-sized galleries at a disadvantage. Instead, one sees “a small group of very big galleries dominating the marketplace, then it’s a very long drop down” to the second tier.

Looking ahead

When the theme of the year is uncertainty, it’s definitionally hard to say what the future holds. There are a few signs that hint at where the market could head. Christie’s reported that nearly one-third of its buyers in 2016 were new ones, up from 5% in 2015, according to the New York Times. This could suggest that the house is finding success in its pursuit of collectors from new markets. Another hopeful data point in a year that saw a 16% decline in overall sales was its 109% growth in online-only sales, which reached £49.8 million (still a tiny share of the total £4 billion the house sold last year).

In the meantime, the art market has forces pulling it in two directions. On the upside, there’s the likelihood that a lucky few will benefit from a business-friendly environment in the U.S., stoking their appetite for buying. On the downside, geopolitical risks are scattered across the global landscape, from the U.S.’s erratic foreign policy and mercurial tax reform strategy, to Brexit’s murky outcome, to the threat of terrorism and conflict.

“The political uncertainty is hanging over us,” said Petterson. “If it plays out badly, then it will have an impact. If it just sits there, then the market will just plod along.”

https://www.artsy.net/article/artsy-editorial-new-report-projects-art-market-growth-2017
 
4. NEW YORK - Art Market Predictions 2017
Apollo’s regular round-up of art market headlines and comment. To kick off the year, seven industry figures look back at the major art market surprises of 2016 and place their bets for the year ahead. Visit Apollo Collector Services for expert advice on navigating the art market.

Jussi Pylkkanen
President of Europe and the Middle East, Christie’s

Your biggest surprise of 2016?
That an Old Master, Rubens’ Lot and His Daughters, came dangerously close to being the most expensive painting sold at auction all year. It was eventually edged into third place by a great Monet and a market-making De Kooning (which was the picture that defined the shift in taste to Post-War a decade ago). However the historic pair of Rembrandts, which sold privately to the Louvre and the Rijksmuseum actually made Christie’s biggest price of the year, so Old Masters came out on top in the end. Moral of the story: The art world is very simple, in any era and in any economic climate, the greatest artworks by the greatest artists generate record prices – forget the period. In 2017, Rembrandt eclipsed Monet, De Kooning and Rubens.

A prediction for 2017?
Significant paintings will come to market in 2017 and break records for leading artists. This is a seller’s market and with a constrained supply, buyers will compete heavily for the best.

What would you bet £50 won’t happen in 2017?
That the Chinese market will falter – Asian collectors are set to be the biggest buyers in 2017.

Melanie Gerlis
Financial Times art market correspondent

Your biggest surprise of 2016?
For me the biggest surprise happened less than a fortnight into the year: Sotheby’s spending $50 million upfront (potentially $85 million) on essentially three people, when it bought the art advisory business Art Agency, Partners.

A prediction for 2017?
That one major auction house ­– Sotheby’s, Christie’s or Phillips – will change ownership.

What would you bet £50 won’t happen in 2017?
I would bet £500 on the fact that transparency won’t particularly improve in the art market in 2017. For all the talk about big data and breaking down the private market barriers, it’s going to take longer than 12 months.

Isabelle Paagman
European Head of Private Sales, Contemporary, Sotheby’s

Your biggest surprise of 2016?
2016 was a year of surprises, with political events both in Europe and the US, but the resilience of the art market despite such great uncertainty really stood out. On a personal note, arriving at work and seeing queues around the block in anticipation of the Bowie exhibition was an unexpected treat.

A prediction for 2017?
I’m confident we’ll see a tremendous year for women artists at the very top of the art market, building on recent outstanding results such as the remarkable Jenny Saville canvas that captivated the room at our contemporary auction in London last June.

What would you bet £50 won’t happen in 2017?
Whatever surprises 2017 might have in might have in store, there certainly won’t be any shortage of exciting and thought-provoking new art. With both the Venice Biennale and Documenta opening in the spring we’ll see new artistic talents emerge, and compelling exhibitions that respond to the momentous social and political changes taking place across the globe. 

Patrick van Maris
CEO of TEFAF

Your biggest surprise of 2016?
We were always confident the launch of TEFAF New York would be successful, however the feedback from our exhibitors, the collectors and the international press exceeded our wildest expectations. It felt like a true triumph. New York City and TEFAF prove to be a match made in art market heaven.

A prediction for 2017?
In 2017 we will see further consolidation with an even stronger emphasis on quality and authenticity.

What would you bet £50 won’t happen in 2017?
I think Brexit will not have a negative impact on London as the number one European art trading hub.

Edward Dolman
Chairman and CEO, Phillips

Your biggest surprise of 2016?
Despite being a year of consolidation, our evening auctions in New York, London and Hong Kong did not pass by without excitement. Phillips tested the masterpiece market with a famously vandalised Roy Lichtenstein, Nudes in Mirror [1994] which had undergone a meticulous restoration and sold for $21.5 million.

A prediction for 2017?
Regardless of a smaller supply, we saw increased strength in active participation across our sales which leads us to believe 2017 will be a stronger year. This will be particularly notable in Asia, as we continue to see a significant transformation in the buying habits of Asian collectors, who are becoming increasingly interested in art from around the world.

What would you bet £50 won’t happen in 2017?
Despite continued political and economic uncertainty, I would bet that art sales in 2017 will not be less than 2016. I expect the market to return to growth.

Kate Bryan
Head of Collections, Soho House and Co.

Your biggest surprise of 2016?
How little the overall health of the market was affected by the combined doom of Brexit and Trump! Yes, there was a clear downturn that was well documented but upon reflection I am astounded at the general resilience of the global contemporary art market – we have never seen an age like this.

A prediction for 2017?
The continued growth of Latin American art markets, and rightfully so. There were new records set in 2016 in the major auctions houses. More interestingly, on a local level I saw more gallery shows, talk about art fairs in the region and a better understanding of and attitude toward this market generally.

What would you bet £50 won’t happen in 2017?
Collectors crying out ‘we need more art fairs’ and artists proclaiming ‘I wish Donald Trump would be my Pope Julius II’.

Matthew Girling
Global CEO of Bonhams

Your biggest surprise of 2016?
I knew that the Chinese art market would bounce back, but was greatly heartened by the strength of its recovery.

A prediction for 2017?
From my viewpoint in New York I predict that the ultra high net worth individuals will still look to art as a great place to invest their money despite the uncertainty, but there will be an extra emphasis on quality, connoisseurship and provenance. Also that areas that are currently undervalued – such as Op Art and the work of women artists – will continue their steady march upwards.

What would you bet £50 won’t happen in 2017?
If we’ve learnt anything from 2016, it is that all bets are off!

https://www.apollo-magazine.com/art-market-predictions-for-2017/

5. LONDON _ London Sales Cycle Steady from 2016 at $593m, Down ~40% from 2015

Max Ernst, Portrait érotique voilé (1.5-2.5m GBP)

The Wall Street Journal offers a tally on the upcoming sales in London. The pre-sale total is slightly below the previous year but down 40% from the boom year of 2015.

The Journal insists on describing this as a market slump. Given what we know about several factors related to the sales in those years—the macroeconomic environment and the aggressive competition between auction houses for property—the current market may be closer to a sustainable one.

The key factor—which we discuss in this AMMpro post—is whether the broader market has moved in a different direction:

London’s latest round is set to kick off Tuesday, with Sotheby’s, Christie’s and the smaller house Phillips expecting to sell at least $593 million worth of impressionist, modern and contemporary art combined, down 4.4% from a similar, $620 million series held a year ago.

http://www.artmarketmonitor.com/

6. LONDON - Art Market’s Slump Gets Worse in 2016
The art market continued to stumble in 2016, with London-based auction house Christie’s reporting a 27% drop in sales

The art market sank into a deeper slump last year, with London-based auction house Christie’s International PLC saying Wednesday it sold £4 billion, or $5.4 billion, of art last year, a 27% decline from a year earlier—and a 36% drop from the market’s peak two years ago.

Christie’s total included $4.4 billion in auction sales, down 32% from the year before. The drop was partly offset by a boost in privately brokered art sales, as more collectors sought to sell their art discreetly rather than risk putting pieces up for public bid. Christie’s sold $935.5 million privately, up 10% from a year earlier.

Rival Sotheby’s, based in New York, auctioned $4.1 billion last year, down 30% from the year before. Sotheby’s will release its consolidated sale totals later this month. Boutique house Phillips said it auctioned $500 million in art last year, down 1.5% from 2015, and privately sold an additional $67.8 million of art.

Fewer art trophies filtered on to the market last year, but masterworks that did fared well. These included Claude Monet’s “Grainstack,” an 1891 view of a harvested field that Denver stock picker Tom Marsico bought for $12 million in 2002 and resold for $81.4 million at Christie’s in New York in November. Christie’s also sold a $66.3 million Willem de Kooning, “Untitled XXV,” and a $58.2 million Peter Paul Rubens, “Lot and his Daughters.” Sotheby’s sold Pablo Picasso’s cubist portrait of a “Seated Woman” for $63.6 million.

Overall, sales were down across several key categories, with Christie’s selling $1.3 billion in contemporary art, down 41% from a year earlier. Its sales of impressionist and modern art—a category it now lumps in with modern British, American and Latin-American art—fell 50% to $997 million. Sales of luxury goods such as jewelry, watches and wine fell 3% to $735 million. Asian art sales fell 14% to $633 million.

Sales perked up in other areas, though. Christie’s sales of Old Master paintings, along with 19th-century art and Russian art, grew 31% to $312 million. The house racked up $217 million in sales of art online—a category that includes online bidding in live auctions as well as online-only auctions. Taken separately, the online-only sales totaled $67 million, up 84%.

In terms of geography, Christie’s sold $2 billion worth of art in the U.S., or about 44% of the house’s offerings. Christie’s Asia sold $705.8 million worth of art, or 16% of the house’s offerings overall, and the house sold around $1.8 billion worth of art across Europe, the Middle East, Russia and India last year, or about 40% of its offerings.I

Guillaume Cerutti, Christie’s new chief executive, called last year “challenging,” but said he sees signs of a turnaround. About a third of Christie’s bidders last year were first-timers, he said, an influx that could bolster competition. What’s more, he said, 79% of the house’s total offerings found buyers last year, a sell-through rate that he labeled “solid.” (The privately held company hasn’t divulged overall sell-through rates for previous years.)

Mr. Cerutti said Christie’s plans to invest more in collector hotspots like Beijing and Los Angeles. The art market faces a major test with a series of sales in London that start Feb. 28.

Corrections & Amplifications
Phillips auctioned $500 million in art last year, plus an additional $67.8 million in private sales. An earlier version of this article incorrectly stated that Philllips’s total sales for 2016 were $500 million. Christie’s sold $2 billion worth of art in the U.S., or about 44% of the house’s offerings. Christie’s Asia sold $705.8 million worth of art, or 16% of the house’s offerings overall, and the house sold around $1.8 billion worth of art across Europe, the Middle East, Russia and India last year, or about 40% of its offerings. An earlier version of this article gave incorrect percentages of the total. (February 9, 2017)

https://www.wsj.com/articles/art-markets-slump-gets-worse-in-2016-1486630802