Marketing the Art Market

“We have actually gotten in a brand-new age of the art market, one in which collectors from around the world are contending for the very finest artworks across classifications, driving sale costs to new heights,” said Jussi Pylkkänen, global president of Christie’s International, in the wake of last Might’s $706 million– earning Looking Forward to the Past sale at the home in New York. By October, Christie’s announced plans to more develop on its brand-new momentum by moving a suite of winter sales to the spring as part of a new Traditional Art Week in April.

Aggressive cross-category marketing has also end up being a hallmark of such venerable art fairs as TEFAF in Maastricht, which, till just recently, was focused on more sedate sectors of European great art as well as more recent arrivals like Masterpiece in London. They have expanded their offerings not just of contemporary and contemporary art in an effort to bring in more deep-pocketed purchasers, but also of antiquities and ethnographic product, which have benefited by association.

Cross-category marketing efforts have not been limited to a strategic balancing of dealership stands on the part of occasion organizers, however also encompass an artful blending of works at the stands themselves. “Good art has actually constantly been contemporary, despite its origin and value,” says Belgian dealer Axel Vervoordt, a leading proponent of eclectic collecting for decades who is commonly credited with leading the way for the existing cross-category fad. Other dealerships are following match.

“At Frieze Masters in October we saw a new phenomenon, galleries from various fields sharing stands and developing interesting shared spaces,” says Siddall, noting that Florentine Old Masters dealership Fabrizio Moretti teamed up with international contemporary powerhouse Hauser & Wirth to provide 14th-century Italian panels together with works by Louise Bourgeois and Henry Moore; Tomasso Brothers Fine Art and Karsten Schubert revealed Bridget Riley illustrations along with ancient sculptures; Daniel Blau provided a superb counterpoint in between centuries-old mother-of-pearl fishhooks from the South Pacific and contemporary photographs from David Bailey’s “Uncharted” series.

“These partnerships,” states Siddall, “assist encourage crossover gathering, something we have actually seen develop for many years at Frieze Masters.” As a case in point, she adds: One gallery has actually sold 2 Dutch Old Master paintings to modern collectors purchasing in this field for the very first time.

The mix-and-match method is also being embraced by more modest fairs such as New york city’s Winter Antiques Program and the recently rebranded, Haughton-owned International Program, also in New york city, where collectors can enter the game at more affordable cost points.

Suppliers are plainly on board with the idea; the question is whether collector demand will keep up.

“We have actually gone into a new era of the art market, one in which collectors from around the world are contending for the very best artworks across categories, driving sale prices to new heights,” said Jussi Pylkkänen, global president of Christie’s International, in the wake of last May’s $706 million– grossing Looking Forward to the Past sale at the home in New York. For Pylkkänen, who has actually been with the house for nearly 3 years, the occasion was just the newest symptom of a technique Christie’s has actually been implementing over the previous several years to draw collectors of postwar and modern into new categories with a thoughtful blending of works that span the ages. By October, Christie’s revealed strategies to further build on its new momentum by moving a suite of winter sales to the spring as part of a new Classic Art Week in April.