Kunstauktionen: Vor dem Zuschlag
Wie ersteigert man ein Kunstwerk auf der Auktion? Eine kleine Einführung für interessierte Käufer.
Von Annegret Erhard
Zeit Online: Nr. 35/2015, 27. August 2015, das Feuilleton
Frau Annegret Erhard erklärt in ihrem Artikel in der Zeit, wie Mann oder Frau an einer Kunstauktion ein Kunstobjekt ersteigert. Sie empfiehlt einige Tipps, wie zum Beispiel die Vorbesichtigung, Geschäftsbedingungen, Gebühren, Transportkosten et cetera. Am Anfang des Artikels schreibt sie, dass eine Kunstsammlerin oder ein Kunstsammler immer auf der Suche nach seltenen und wertvollen Objekten ist und rät auf Kunstauktionen zu ersteigern. In ihrem Text, weiter unten, beschreibt sie eine exzessive Auktionsszene wie aus dem Film Wall Street in der Hauptrolle mit Michael Douglas. Nur zu blöd, dass das ersteigerte Objekt (Sie nennt es am Anfang ein Ding) über dem kalkulierten Preis war und eventuell ein Verlustgeschäft ist. Sie schlägt vor, trotz des Verlustgeschäftes, dieses Kunstobjekt so rasch wie möglich aus Gründen der Seelenhygiene zu veräussern. Am Schluss bekundet sie der intressierten Sammlerin oder dem intressierten Sammler, dass sie nun eine fetzige Sammlerin oder ein fetziger Sammler geworden ist.
Kommentar:
Wenn man bedenkt, und die Kunstauktionen genauer studiert, wird man rasch feststellen, dass die wertvollsten Objekte, welche auch sehr selten versteigert werden, mehr als eine Dekade benötigen, um den Kaufpreis oder eben den Einkaufspreis eines Kunstobjektes auf das Zehnfache, Hundertfache, Tausendfache oder auch Zehntausendfache aufzuwerten. Ansonsten ist es nur ein Betrug um ein Vermögen zu verdienen. Eine Kunstsammlerin oder ein Kunstsammler hat keine Intresse nur aus Gründen des Statussymbols an Kunstauktionen, wie Frau Annegret Erhard es ausdrückt, ein Ding zu erwerben. Eine echte Kunstsammlerin oder ein echter Kunstsammler, wünscht zu günstigen Konditionen direkt bei der Künstlerin, beim Künstler oder in einer Kunstgalerie zu erwerben, welche dann von der nächsten Generation oder der übernächsten Generation an den Kunstauktionen weiterverkauft werden. Somit wird die Sammlerfamilie mit der Künstlerin oder dem Künstler verewigt als Kunstmäzen. Als Beispiele kann man Vincent van Gogh, Paul Gauguin, Henri Rousseau "Le Douanier", Maurice de Vlaminck, Kasimir Malewitsch, Modigliani, Picasso oder die Impressionisten nennen. Schliesslich waren diese Künstler oder Künstlerinnen wegweisend sowie progressiv. Die Kunstwerke dieser Künstlerinnen oder Künstler sind nicht auf Kunstmessen, Kunstauktionen, in renommierten Kunstgalerien oder bei wichtigen Kunsthändlern zu erwerben gewesen. Zuerst waren diese Kunstwerke, zu einem erschwinglichen Preis, für die Kunstsammlerin oder den Kunstsammler nur eine Spekulation für die Zukunft. Natürlich hatten sie eine gute Nase und den Sinn für die Kunst, sonst hätten sie sie nicht erworben. Ob in den nächsten fünfundzwanzig bis hundert Jahren der Startpreis von 25'000 Euro für die abgebildete Bronzeskulptur von Jörg Immendorf für die Kunstsammlerin oder den Kunstsammler zu einem lukrativen Kunstgeschäft entwickelt, ist eine andere Geschichte. Gegebenfalls kann man ja immer noch versuchen, wie im Artikel von Frau Annegret Erhard beschrieben, das Kunstobjekt sportlich und fix zu verramschen oder dieses einfach als Trophäe behalten. Übrigens, bei mir kann man für diesen Startpreis von 25'000 Euro zwischen 15 und 40 Kunstwerke erwerben, selbstverständlich inklusive Einrahmung.
Posts mit dem Label Kunsthändler werden angezeigt. Alle Posts anzeigen
Posts mit dem Label Kunsthändler werden angezeigt. Alle Posts anzeigen
Sonntag, 18. Oktober 2015
Mittwoch, 21. Mai 2014
The Elite of the Art
The elite of the art
My latest article was about the unrecognized art. Now, I will to write a wee bit over the elite in the art. Perhaps we should make it clear, who the elite are. There are the collectors, dealers, reviewer, lecturer et cetera. Many of these people wanted to be an artist himself at the beginning of course. However, many of them decided, an easier way to take in the art. If you should consider whether these persons understand something from art, so it is with certainty the classic art. Art, which is long-established.
Impressionism: Claude Monet, Edgar Degas, Camille Pissaro etc.; postimpressionism: Paul Cezanne; pointillism/neo-impressionism: Georges Seurat, Paul Signac, Camille Pissaro etc.; expressionism: Vincent van Gogh; surrealism: Yves Tanguy; fantasy art/naive-realistic art: Henri Rousseau "Le Douanier"; abstract art: Wassily Kandinsky, Pablo Picasso; cubism: Pablo Picasso, Georges Braque; suprematism: Kazimir Malevich; constructivism: Vladimir Tatlin, Aleksandr Rodchenko; symbolism: Paul Gauguin, Emile Bernard, James Ensor etc.; realism: Camille Corot, Gustave Courbet, Jean-Francois Millet etc.; fauvism: Henri Matisse, Maurice de Vlaminck etc.; optical art: Victor Vasarely etc.; Dadaism: Marcel Duchamp, Kurt Schwitters, Hans Arp etc.; art nouveau: Gustav Klimt; pop art: Claes Oldenburg, Robert Rauschenberg, Jasper Johns; concrete art: Theo van Doesburg, Piet Mondrian etc.; minimalism: Yves Klein, Dan Flavin etc.; abstract expressionism: Jackson Pollock, Mark Rothko, Willem de Kooning, Constantin Brancusi, etc.; photorealism/hyperrealism: Chuck Close, Don Eddy, Richard Estes; new realism: Jean Tinguely, Yves Klein, Arman etc. or even the classical art of the Renaissance: Sandro Botticelli, Michelangelo, Raphael, Titian etc.; the Baroque: Michelangelo Merisi Caravaggio, Charles le Brun, Nicolas Poussin; and the Rococo: Antoine Watteau, Francois Boucher.
The understanding of this art and artists is not enough to understand something of the art. It is not more than blinkered. This is shown by the events, exhibitions, press reports. The exhibition "Gerhard Richter" is a parable. It is to see in the Fondation Beyeler from 18th May until 7th September 2014. In the media and in the art scene tells you, that the Gerhard Richter are the Picasso of the twenty-first century. Gerhard Richter has not proclaimed a art movement yet discovered the photorealism/hyper-realism. Moreover, one's also of Jonathan Meese claimed, that he are the Picasso of the twenty-first century. It can only exist a Picasso and he has long since died. These phrases are like the artist group The Bridge, The Blue Rider or Henri Matisse. Vincent van Gogh was the pioneer of expressionism! With regard to the so-called elite or i.e. clerisy, meaning the answer Urs Raussmuller (The Collection Crex), Larry Gagosian, Tony Shafrazi and so on. A proverb says: "The people are like the fishes."
My latest article was about the unrecognized art. Now, I will to write a wee bit over the elite in the art. Perhaps we should make it clear, who the elite are. There are the collectors, dealers, reviewer, lecturer et cetera. Many of these people wanted to be an artist himself at the beginning of course. However, many of them decided, an easier way to take in the art. If you should consider whether these persons understand something from art, so it is with certainty the classic art. Art, which is long-established.
Impressionism: Claude Monet, Edgar Degas, Camille Pissaro etc.; postimpressionism: Paul Cezanne; pointillism/neo-impressionism: Georges Seurat, Paul Signac, Camille Pissaro etc.; expressionism: Vincent van Gogh; surrealism: Yves Tanguy; fantasy art/naive-realistic art: Henri Rousseau "Le Douanier"; abstract art: Wassily Kandinsky, Pablo Picasso; cubism: Pablo Picasso, Georges Braque; suprematism: Kazimir Malevich; constructivism: Vladimir Tatlin, Aleksandr Rodchenko; symbolism: Paul Gauguin, Emile Bernard, James Ensor etc.; realism: Camille Corot, Gustave Courbet, Jean-Francois Millet etc.; fauvism: Henri Matisse, Maurice de Vlaminck etc.; optical art: Victor Vasarely etc.; Dadaism: Marcel Duchamp, Kurt Schwitters, Hans Arp etc.; art nouveau: Gustav Klimt; pop art: Claes Oldenburg, Robert Rauschenberg, Jasper Johns; concrete art: Theo van Doesburg, Piet Mondrian etc.; minimalism: Yves Klein, Dan Flavin etc.; abstract expressionism: Jackson Pollock, Mark Rothko, Willem de Kooning, Constantin Brancusi, etc.; photorealism/hyperrealism: Chuck Close, Don Eddy, Richard Estes; new realism: Jean Tinguely, Yves Klein, Arman etc. or even the classical art of the Renaissance: Sandro Botticelli, Michelangelo, Raphael, Titian etc.; the Baroque: Michelangelo Merisi Caravaggio, Charles le Brun, Nicolas Poussin; and the Rococo: Antoine Watteau, Francois Boucher.
The understanding of this art and artists is not enough to understand something of the art. It is not more than blinkered. This is shown by the events, exhibitions, press reports. The exhibition "Gerhard Richter" is a parable. It is to see in the Fondation Beyeler from 18th May until 7th September 2014. In the media and in the art scene tells you, that the Gerhard Richter are the Picasso of the twenty-first century. Gerhard Richter has not proclaimed a art movement yet discovered the photorealism/hyper-realism. Moreover, one's also of Jonathan Meese claimed, that he are the Picasso of the twenty-first century. It can only exist a Picasso and he has long since died. These phrases are like the artist group The Bridge, The Blue Rider or Henri Matisse. Vincent van Gogh was the pioneer of expressionism! With regard to the so-called elite or i.e. clerisy, meaning the answer Urs Raussmuller (The Collection Crex), Larry Gagosian, Tony Shafrazi and so on. A proverb says: "The people are like the fishes."
Gerhard Richter,
2011,
acrylic paint on paper,
69.8 x 50 cm,
signed and dated
Sold
Art Lovers, Art Connoisseurs and Patrons
Art lovers, art connoisseurs and patrons of art
At the moment I live in France. It is a beautiful country and has an attraction. It is the culture, the food or the history. Of course each country has charm and it does not deny this. But France has always attracted artists and intellectuals. Van Gogh and Modigliani also lived and worked in France. In his own lifetime they had less luck. They could not live by the art and they are rigorously respected pioneers of the art history. The collectors have ignored they and of course rather invested in the established artists or in the budding artists. The prices of art works by van Gogh, Gauguin, Rousseau (Le Douanier) and Malevich were actually very lucrative despite the isolation. Despite this, they're out of luck. They were not understood by the art collectors. Today they to mix it at the top in the art world. There is no doubt that today is still the same conditions of that time. The toothlessly art is still preferred. It is not easy to make the right investment. There are also artists are a dime a dozen. Along with it the majority of the population are not accurate interested for the art. She likes the kitsch or the copy of many copies. Once a year the people to pilgrimage from Basel to Frankfurt in the Museum Night. Some famous persons to hang up even a poster print some established art at home. The art is in the hands of the economists, and they determine the art market. This shows the profit at the expense of the art. The collectors to be guided oneself by the art journals and marketing. The whole thing is actually only hustle and bustle. It is another question whether these excessive prices really also in twenty-five, fifty or a hundred years ago is still lucrative will be. One speculates with the contemporary art from India, China, and today from Brazil and Turkey. The art fairs are lucrative investments and sprout out of the ground like mushrooms. It is chic to such art fairs to go or just to be invited. The real artists to fall by the wayside. They are and will remain untouched, as well as firm anyway. That is why it is perhaps advisable as a collector or art dealer aside from all beaten paths to follow. As a collector or just as an art dealer is it crucial not only established art to market, but also to promote no toothlessly art. The prices of the autodidacts are and were always lucrative and also for the social prestige of high-society. As one invest, investing for future generations. Simply put, it is even the investment for the grandchildren. Art is like the wine, wheat or a flower. It needs time to mature and to bloom. Only then it is completely.
At the moment I live in France. It is a beautiful country and has an attraction. It is the culture, the food or the history. Of course each country has charm and it does not deny this. But France has always attracted artists and intellectuals. Van Gogh and Modigliani also lived and worked in France. In his own lifetime they had less luck. They could not live by the art and they are rigorously respected pioneers of the art history. The collectors have ignored they and of course rather invested in the established artists or in the budding artists. The prices of art works by van Gogh, Gauguin, Rousseau (Le Douanier) and Malevich were actually very lucrative despite the isolation. Despite this, they're out of luck. They were not understood by the art collectors. Today they to mix it at the top in the art world. There is no doubt that today is still the same conditions of that time. The toothlessly art is still preferred. It is not easy to make the right investment. There are also artists are a dime a dozen. Along with it the majority of the population are not accurate interested for the art. She likes the kitsch or the copy of many copies. Once a year the people to pilgrimage from Basel to Frankfurt in the Museum Night. Some famous persons to hang up even a poster print some established art at home. The art is in the hands of the economists, and they determine the art market. This shows the profit at the expense of the art. The collectors to be guided oneself by the art journals and marketing. The whole thing is actually only hustle and bustle. It is another question whether these excessive prices really also in twenty-five, fifty or a hundred years ago is still lucrative will be. One speculates with the contemporary art from India, China, and today from Brazil and Turkey. The art fairs are lucrative investments and sprout out of the ground like mushrooms. It is chic to such art fairs to go or just to be invited. The real artists to fall by the wayside. They are and will remain untouched, as well as firm anyway. That is why it is perhaps advisable as a collector or art dealer aside from all beaten paths to follow. As a collector or just as an art dealer is it crucial not only established art to market, but also to promote no toothlessly art. The prices of the autodidacts are and were always lucrative and also for the social prestige of high-society. As one invest, investing for future generations. Simply put, it is even the investment for the grandchildren. Art is like the wine, wheat or a flower. It needs time to mature and to bloom. Only then it is completely.
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