original fine arts gallery


FOR IMMEDIATE RELEASE

 

Contact: Capucine Price    cappyart@gmail.com

312.203.0644

Put Your Assets on the Wall™

How Buying What You Love Can Get You the Return You Need

By Capucine Price

 

 

“Put Your Assets on the Wall™” details art’s unique history as an alternative for growing and preserving wealth. 

 

Today, art inspires a significantly higher degree of confidence than many of the nearest AAA-rated financial instruments.

 

“Put Your Assets on the Wall™” is a must read for anyone who is grappling with the quandary of how to invest in an era witnessing the ongoing dramatic decline in fortunes of traditional investments.  “Put Your Assets on the Wall” presents the timely analysis that demonstrates art’s superior investment performance during inflationary and other periods of financial upheaval throughout history. If investment methodology has one fundamental truth to tell, it is that proper asset allocation is the most important single investment decision an investor can make.  

 

In the midst of the current financial crisis, it’s clear that most savers and investors are overweighted in equities, despite recent experiences of the highest levels of volatility ever recorded. It may seem strange that a 14-year veteran small-cap value fund manager would say that, but in “Put Your Assets on the Wall™” Capucine Price uses the metrics of traditional investments to teach people about art as an alternative asset class, and a way to diversify one’s portfolio and hedge against volatility. 

 

In “Put Your Assets on the Wall,” former small cap value investor turned art entrepreneur Capucine Price helps people to gain an understanding of: 

 

Strategies to optimize portfolio performance

The role of alternative assets in a portfolio

How to inveset regardless of portfolio size

Why less expensive art outperforms

 

 

ABOUT THE AUTHOR

The writer is a veteran portfolio manager, co-owner of CapucinesBoulevard.com, and the author of “Put Your Assets on the Wall.” The author applies her background and expertise in investment management, specifically in small capitalization value stocks, to the world of art. Before heading into cyberspace, Capucine helped spearhead William Blair & Co.’s development of a value investment discipline and related products for institutional and mutual fund investors. 

 

 

 

Website: http://www.bestartinvestments.com/

 

Advertisements

Damien Hirst’s Sotheby’s Auction Begins the Unwinding of the Hegemonic Gallery/Dealer SystemArt, The Safety and Beauty of Real, Tangible Assets

“Non-financial assets form the greater part of world wealth and have been more stable in value during periods of financial and social turbulence.” – Roger Ibbotson and Gary Brinson, “Global Investing”  

Between September 15th and 17th, Wall Street and world financial markets were turned on their heads as 158 year-old investment bank Lehman Brothers filed for bankruptcy, followed by the Fed’s rescue of the insurance behemoth AIG. Credit markets seized up, stock markets plummeted and gold dramatically reversed its weeks-long downward movement. 

However, it was obvious that no one had though to inform art lovers as concurrent with the carnage on Wall Street, the artist Damien Hirst was busy staging a record auction of work by a single artist, selling $200.7 million of his most recent work at Sotheby’s. The game-changing auction of 223 original pieces of art has effectively changed the rules of the game, permitting an art lover to simply walk in off the street, without having to demonstrate their ‘seriousness’ to a dealer or gallery-owner, bid for a piece of original art and become its owner. Requirement: money. Not required: proper referrals, lineage, documentation of existing portfolio, etc. 

Not only did the sale highlight the juxtaposition between those assets with value (the visual and tangibly creative) and those woefully lacking it (creative financial instruments), but it signals a sea change in the way that artists view their options, as well as the volume of work from which the public can now choose. And in that sense it marks a seismic shift toward a newly democratic artworld. 

The wildly successful auction at which all but five pieces sold marked the first time that original artwork was auctioned without having passed through either a gallery or dealer’s hands. With the increased number of venues for marketing and selling artwork, the argument against consigning art first to high-cost (50% or higher) brick-and-mortar galleries and dealers has acquired a new solidity. 

Poverty is not the cost of respect in any other industry or endeavor, however, it has seemingly been inculcated as such within the realm of art. 

Hirst himself refers to the 50% cut taken by galleries as “an extortionate amount of money.”

When Claude Monet hosted the first exhibition open to the public of Impressionist artwork in the 1800’s, in effect circumventing the prevailing juried system, it’s unlikely there were very many cheers from the establishment. However, the exhibition held on the Boulevard des Capucines undoubtedly altered the way that artists’ sold their work.

Under the dealer/gallery system, a romantic notion was repeated often enough and allowed to codify as a truth, i.e. that artists must suffer to produce good art and that any state other than perpetual poverty for an artist translated to ‘selling out.’ Not in any other creative or sports-related endeavor does this fiction exist, and it has survived only because of the prevailing inefficient sales and management structure under which the levers of power were tilted in favor of distributors instead of producers.

In the end, no industry is spared the power of the market – all are eventually mean-reverting. Hirst’s auction represents quite a few miles logged on the road to reversion.

WHY ART IS THE BEST INVESTMENT YOU’LL EVER MAKE 

ART: HOW TO PRESERVE WEALTH AND MAKE MONEY IN VOLATILE FINANCIAL TIMES – PART IV

IT’S TIME TO PUT YOUR ASSETS ON YOUR WALLS

“Non-financial assets form the greater part of world wealth and have been more stable in value during periods of financial and social turbulence.”     Roger Ibbotson and Gary Brinson, “Global Investing”

The devolution of confidence in traditional investment alternatives, in concert with the elevation of the importance of design and aesthetic throughout the world, points to a renaissance in the value of art to a degree never before witnessed.

After all, the art auction market is fair and transparent with a degree of stability that many financial institutions, and even some AAA-rated U.S. government debt, can only dream about. 

“The main contributor to both absolute total returns and to the variance of total returns was the asset allocation policy decision.” ( Global Investing: The Professional’s Guide to the World Capital Markets, Roger G. Ibbotson and Gary Brinson

Even absent the conditions present in the market today, making the deliberate decision to remain in the stock market inherently implies acceptance of a degree of risk. In that case then the decision should be made to diversify with the inclusion into the portfolio of assets which have no or little correlation with that of the market, in order to minimize risk and maximize return potential. 

As a real and tangible versus a monetary asset, art’s low correlation with the stock and bond markets makes it an excellent diversification vehicle, enabling reduction in overall portfolio risk. 

A key study examining the returns of 82 large pension portfolios by Gary Brinson, Brian Singer, and Gilbert Beebower uncovered that over 91% of the variance of returns is attributable to the asset allocation policy decision, rather than specific stock or bond selection decisions. (Gary P. Brinson, Brian D. Singer, and Gilbert L. Beebower, “Determinants of Portfolio Performance II: An Update,” Financial Analysis Journal, May/June 1991.)  

Therefore, the research data argue persuasively that allocating a portion of all investment portfolios to art as an investment class is as imperative as the very decision to employ an investment policy. It shows that for an investor with the twin goals of preserving wealth and growing capital, with today’s market conditions, history points to the capital preservation and return superiority of art.

Hence, it doesn’t matter what genre of art is selected, what matters most is the policy decision for its inclusion.  This study therefore highlights the importance of the investment policy with a clear implication for the Art market.  Why not apply the respected and proven paradigm of the investment world as it relates to financial assets, to the real, tangible asset that is Art?

Art’s status as a store of wealth is undeniable by historical standards. 

Under the old paradigm, one would observe that with a buoyant art market in large part due to exuberant participation of buyers from a single industry, that with the sudden ill fortunes of that industry, would necessarily mean at lease the near-term deceleration of the art market. Not so this time.  The growth of the current art market is traceable not simply to a single industry or even a single continent, but to a hitherto unseen confluence of global wealth and acquisitive desire.

It has been an incredible year for contemporary and modern art. Christie’s and Sotheby’s together posted record sales over $12 billion. Despite all the economic travails discussed in these posts, art has been one of the only asset classes that has continued to outperform and bring an important degree of diversification to owners’ portfolios. If you consider the fact that the 10-year inflation-adjusted return of the benchmark S&P 500 has actually been negative,  that real estate can no longer be considered an asset upon which to retire, and, finally, the inflation which will only continue to ravage real returns, the choice for art becomes clear. 

Capucine Price

http://www.CapucinesBoulevard.com

September, 2008

http://www.capucinesboulevard.com/default.aspx?Login=2

http://blip.tv/search?q=capucinesboulevard&x=0&y=0

http://www.originalfineartgalleryonline.com/

WHY ART IS THE BEST INVESTMENT YOU’LL EVER MAKE 

ART: HOW TO PRESERVE WEALTH AND MAKE MONEY IN VOLATILE FINANCIAL TIMES – PART III

IT’S TIME TO PUT YOUR ASSETS ON YOUR WALLS

“Non-financial assets form the greater part of world wealth and have been more stable in value during periods of financial and social turbulence.”     Roger Ibbotson and Gary Brinson, “Global Investing”

The Inflation Problem

Economies around the world are experiencing slower growth. However, the imported inflation in those countries where the currency is tied to the U.S. dollar has eliminated central banks’ option of reducing interest rates in order to generate growth. Growth has been further stymied by those countries’ losses from their dollar-denominated assets. Of all the maladies around the globe however, it is dollar-driven food price inflation which poses the gravest danger to the sustainability of the dollar peg. To reduce inflation, Thailand and the Philippine central bank increased intereste rates this week. South Korea has been selling dollars in an effort to revalue the Won. To address inflation, the Indian central government recently decided took steps allowing the rupee to rise in value against the dollar, sparking a rally in the stock market. For example, Pakistan experienced riots at its stock exchanges as a result of continued movements downward, on top of rapidly rising commodity price inflation. A recent survey there highlighted the fact that 71% of respondents see inflation as a problem. This situation has been pointing many decision-makers toward the necessity of de-coupling from the dollar, revaluing their currencies higher, accelerating the movement away from U.S. investment vehicles, including the AAA variety, and hence, the vulnerable position that the dollar now finds itself in. 

Bank Failures:

It doesn’t end at IndyMac, the U.S.’ third largest bank failure ever. Bank regulators,  due to their increased expectations for greater numbers of bank failures, has for months been bringing bank examiners out of retirement in order to handle the anticipated workout workload. Many more banks are expected to fail.Interestingly, IndyMac wasn’t even on the regulators’ watch list when it failed, indicating that other banks are almost certainly as vulnerable. In its call upon depositor insurance to consumers, IndyMac alone will exhaust 10% of the FDIC’s total warchest

Not all things with high prices are in a bubble/Art Market will not implode

The most well-known of the art indexes was developed by economists from NYU’s Stern School of Business Jianping Mei, and Michael Moses.  The Mei/Moses Fine Art index exist for seven different categories of art including Old Masters, 19th century, Impressionist, Modern, postwar and contemporary, and American before 1950.  It is based on repeat sales of paintings, sculpture, ect. and captures almost 95% of all auction data. The index indicates that art had a compound annual growth rate of 12.05% between 1953 and 2003 versus 11.65% for the S&P500 index, with reinvested dividends. 

IT’S TIME TO PUT YOUR ASSETS ON YOUR WALLS

“Non-financial assets form the greater part of world wealth and have been more stable in value during periods of financial and social turbulence.”     Roger Ibbotson and Gary Brinson, “Global Investing”

The devolution of confidence in traditional investment alternatives, in concert with the elevation of the importance of design and aesthetic throughout the world, points to a renaissance in the value of art to a degree never before witnessed.

After all, the art auction market is fair and transparent with a degree of stability that many financial institutions, and even some AAA-rated U.S. government debt, can only dream about. 

Foreign Investors Reducing Their Exposure to the Dollar

Because sovereign wealth funds have begun to more aggressively reduce their exposure to the dollar.  With over $3 trillion in investable assets, Foreign governments already own a whopping $1 trillion of Fannie and Freddie debt. Having watched as their investments in faltering U.S. banks such as Citibank (down 71% past 12-months) have cost them huge losses, Gulf state funds as well as China’s primary investment fund (SAFE) are increasingly diversifying out of dollar assets. China’s State Administration of Foreign Exchange (SAFE), which holds most of China’s $1.8 trillion in foreign currency reserves in dollar-denominated investments, is evaluating investments outside of the U.S. Their move follows moves by Kuwait which cut its ties to the dollar in 2007 and their statements this week that they will not buy any additional Fannie or Freddie debt, and Singapore which has also reduced its exposure after watching its $5 billion stake in Merrill Lynch fall by almost 40% so far. The $200 billion in funds managed by the China Investment Corporation have taken huge negative hits as a result of their $3 billion investment in Blackstone Group in 2007 followed by their $5 billion in Morgan Stanley earlier this year. 

The largest sovereign wealth fund, the Abu Dhabi Investment Authority, is growing increasingly sensitive as its population shoulders the pain of inflation imported as a result of the countries’ tie to the dollar. And while the desire to diversify currency exposure is gaining strength, most sovereign funds, due to their own significant dollar holdings,  are concerned with doing so in a measured way that is unlikely to cause an accelerated dollar plunge. 

What is left then for those banks and investment banks in need of capital infusions, who don’t have the benefit of being Government Sponsored Entities, and can no longer rely on sovereign wealth funds to lend a hand? They, like Merrill Lynch announced this week, are reduced to selling assets. Having raised $15 billion in capital year-to-date from hedge and sovereign funds from Singapore, Thailand, Kuwait, and South Korea, the investment bank announced that it will sell its stake in Bloomberg.

Foreign investors currently hold around $2.6 trillion of U.S. Treasury Securities. Unfortunately, foreign investors’ questions about the strength of our assets don’t end with Fannie and Freddie. A clear indication of this latest statement comes in the form of credit insurance costs for AAA-rated U.S. Treasuries which in July rose to 16-20 basis points, higher than other nations for the first time ever. 

If the country is called upon to write the check to Fannie and Freddie, our increased debt burden will only serve to call into further question the health and reliability of the dollar, which exacerbates oil and food price inflation, and further threatens the dollar in an endless, macabre loop. 

 

Capucine Price

http://www.CapucinesBoulevard.com

Email: Support@CapucinesBoulevard.com

August, 2008

http://www.capucinesboulevard.com/default.aspx?Login=2

http://blip.tv/search?q=capucinesboulevard&x=0&y=0

http://www.originalfineartgalleryonline.com/

 

IT’S TIME TO PUT YOUR ASSETS ON YOUR WALLS

 

“Non-financial assets form the greater part of world wealth and have been more stable in value during periods of financial and social turbulence.”     Roger Ibbotson and Gary Brinson, “Global Investing”

 

The devolution of confidence in traditional investment alternatives, in concert with the elevation of the importance of design and aesthetic throughout the world, points to a renaissance in the value of art to a degree never before witnessed.

 

After all, the art auction market is fair and transparent with a degree of stability that many financial institutions, and even some AAA-rated U.S. government debt, can only dream about. 

 

The Current State of Things 

The U.S. has experienced many decades of economic growth facilitated by technological innovation and ongoing reductions in the cost of labor. As a result, it has enjoyed one of the highest rates of consumption in the world, bolstered by low interest rates and record rates of liquidity, all courtesy of the rest of the world’s willingness to buy U.S. debt. 

 

The DJIA is down 13.1% year to date and the S&P has fallen 12.4% in that time. The U.S. dollar has lost over 10% against a basket of six currencies over the past year, 40% over the past six years, a time when the price of oil is up seven-fold. The Chinese Yuan is up 7% year-to-date versus the dollar after having gained 7% in all of 2007.

 

The U.S. money supply is growing at the rate of 16% per year, the highest rate of growth since 1971 and, correspondingly, Gold is up 283% against the dollar since June 2001. The real source of many consumers’ wealth, their homes, have already lost 16% of their value since the peak in 2006. 

 

Writeoffs related to the credit crisis have already passed the $550 billion mark. Keep in mind that this still only reflects sub-prime losses, as no commercial or Alt-A losses have been taken as of yet. After assuring in June that economic risks had diminished, Fed Chair Ben Bernanke testified in mid-July that “there’s no doubt there’s further deterioration in the cards for bank earnings and we’ll continue to see financial sector woes play themselves out.”  Despite inflation in the form of rising consumer prices, currently at an annual 5.6% rate, the highest since 1991, the stresses in the financial system negate almost any efforts by the Fed to tackle inflation. That does not bode well for the dollar.

 

Fannie Mae and Freddie Mac:

The liquidity and capital crisis at these two mortgage behemoths is set against their guarantee of a whopping $5.3 trillion in mortgage credit, or half the total of all U.S. mortgages. The main issue however, revolves around their relative under-capitalization; the two have only a combined $81 billion in capital and that inadequacy means that raising capital has become a priority in this era of mortgage crisis.  That roughly 2% of liabilities in the form of capital means that the danger exists that if the value of the mortgages that they guarantee declines by a small percentage……From where that capital will come is the big question, and it is increasingly likely that it will be the U.S. taxpayer who will have to shoulder the burden once again. Why? Absent their ability to raise additional capital in the public market they will almost certainly be rescued by the federal government because they are at least implicitly, if not so stated in their prospecti, guaranteed by the federal government, meaning that their failure would send a pronounced negative signal to the nations’ creditors were they allowed to fail. Hence, their bailout could cost as much as 10% of GDP, the rating agency S&P has said  and “could create a material fiscal burden to the government that would lead to downward pressure on its rating.”

 

A new era of value equality is unfolding among the worlds’ artists. In the case of the price differential between the work of the contemporary ‘art stars’ and emerging artists, consider for a moment an important influencing factor also found in the stock market: uncertainty. For instance, a company operating in an industry where a key competitor suddenly becomes the subject of an investigation will undoubtedly see its stock price at least temporarily negatively impacted regardless of culpability simply because of investor uncertainty. Lack of knowledge in any industry acts as a damper on value, and let’s face it, the famous are such because to date they’ve received the entirety of the spotlight from the art market apparatchik, hence relatively little is known about those without such support.

 

However, the internet is THE equalizing factor. In an era where the internet functions as the facilitator of the distribution and promotion of the work of emerging artists from all over the world, the era of the ‘art star’ deemed such by the critics, curators and self-appointed art experts has come to a necessary end. 

 

In order to assess value and predict the direction of prices with respect to any asset, including stocks, it’s instructive to look at comparables. The work of the Old Masters and other dead artists has stood the test of time thus guaranteeing its worth in the form of the stratospheric prices garnered today. What is less clear is the rationale for the difference between the prices paid for the work of many contemporary artists and the much larger group of emerging artists. In any other industry, over time such a relative value disparity would disappear. 

 

Given the increasing recognition of the value of art today, equalization of the prices between discovered and undiscovered artists is inevitable if only because the relative value of the latter is highlighted. In the case of two stocks with equal earnings generating power where the sole exogenous, differentiating factor is the amount of ‘coverage’ by Wall Street that each receives, the difference in price to the long-term investor highlights the less expensive as a powerful value, and the common sense choice. Yes, the value stock may lack the imprematur of the big Wall Street analysts, but how many times have they overlooked a diamond covered in coal dust? Emerging artists are the greatest investment opportunity that no one has ever heard of.

Next Page »