Sotheby's Addresses Concerns Over Guarantees While Reporting Bullish 2007 Results

In prepared remarks for quarterly conference calls with stock analysts, Sotheby's usually closely tracks the language of its earnings press release and then fields questions.

But today, while discussing the 2007 totals, which it called "the best financial results...in its 264-year history," Sotheby's digressed from its earnings press release to tackle the elephant in the auction room---the guaranteed prices that auction houses offer to some consignors, which can become risky in a softening market:

Bill Sheridan, the company's chief financial officer, stated that Sotheby's had sustained $19.1 million in losses on guaranteed property sold in 2007, which were "more than offset" by the $77 million in total auction commission revenues from guaranteed works. "As a result, we earned $58 million in revenues from our guaranteed portfolio," he declared of the 2007 results.

Bill Ruprecht, Sotheby's president and CEO added that he did not believe this year would see "the same kind of acceleration in guarantees as there was over the last couple of years." The total value of current guarantees, he said, is $149 million (compared to guarantees totaling $458.5 million on Sept. 30, before the big fall sales in New York).

The officials revealed that the auction house is still trying to sell guaranteed property for which bidding fell short at the lackluster November Impressionist/Modern sale.

And now for some bullish news:

Sotheby's today reported net income for 2007 totaling $213.1 million, about double last year's $107 million. Total revenues were $917.7 million---38% more than the previous year---largely because of higher auction-commission revenues. Total auction sales (including buyer's premium) for 2007 were $5.39 billion, compared to $3.75 billion in 2006. Private sales those two years totaled $730 million and $327.88 million, respectively.

Ruprecht indicated that the big art-market players are those with commodity-based wealth (i.e., oil). Contrary to speculation in the media, hedge fund moguls, he said, "never dominated our business. They are a visible but small component of the demand side."

According to Sotheby's press release:

For the first time, contemporary art became Sotheby's largest category with auction sales of $1.34 billion, an increase of 107% from the prior year. Sales of Impressionist and modern art rose by 24% to $1.16 billion. Emerging markets performed strongly as well. Russian paintings and works of art brought $190.9 million, a 25% increase from the prior year. Sales in Asia totaled $400.7 million, a 41% increase from the prior year and worldwide sales of contemporary Asian art brought $140 million, 99% above the prior year.

Ruprecht also remarked that tomorrow's big evening contemporary sale in London will be an important market indicator.

February 26, 2008 6:36 PM |

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CULTUREGRRL is your inside guide to the artworld, consulted daily by the most important museum directors and curators, art dealers and auctioneers, collectors, scholars, critics, journalists and art lovers. Bringing wit and wisdom to informed, informative reviews of artworld events and issues, CultureGrrl (aka Lee Rosenbaum) is avidly read for her influential critiques of best and worst practices in the field.

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LEE ROSENBAUM LeeAcrop.jpg I'm a veteran cultural journalist who writes frequently for the Wall Street Journal's "Leisure & Arts" page. I am contributing editor of Art in America magazine and a regular cultural contributor on New York Public Radio (WNYC). I've appeared as an art-market commentator on BBC-TV and have published numerous Op-Ed pieces in the New York Times and Los Angeles Times. I am author of The Complete Guide to Collecting Art (Knopf) and have lectured on cultural property issues at the New Acropolis Museum and the University of Pennsylvania, on deaccessioning at Columbia Law School and on museum governance at Seton Hall University.

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MY BOOK
The Complete Guide to Collecting Art (Knopf)

IN THE MAINSTREAM MEDIA
NY TIMES OP-EDS:
For Sale: Our Permanent Collection (museum deaccessions)
Fashion Victim (Chanel at the Met)
Destroying the Museum to Save It (Barnes Foundation)
Reassembling Sundered Antiquities (Parthenon marbles)

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The Walton Effect: Art World Is Roiled by Wal-Mart Heiress

Tricks of the Auction Trade

The Seattle Art Museum: A Work in Progress

Upside Down and Backward, Yet Tame (Boston ICA)
Edith Wharton's Library Is Now an Open Book
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This Museum's Expansion is Simply Effective (Minneapolis Institute)
Truth in Booty: Coming--and Staying--Clean (antiquities controversies)
A Betrayal of Trust (NY Public Library's art sales)
The Lost Museum (MoMA's art sales)
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Money in Motion (the Guggenheim's finances)
The Fine Art of Genocide? (appraisals of Hitler's art)

LA TIMES OP-EDS:
Make Art Loans, Not War
Museums Can't Compete (public collecting endangered)

ART IN AMERICA:
Refreshing the Smithsonian (the renovated SAAM and NPG)
The Atrium That Ate the Morgan (Renzo Piano's addition)
Hot Pots and Potshots (controversies over museum antiquities)
Musings on Museums (book review of "Whose Muse?")

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Whitney Biennial
Guggenheim Director Steps Down
Philippe de Montebello's Retirement
Fall '07 Art Auctions
Metropolitan Museum's "Age of Rembrandt" Show
Commentary on the Art Market
Tour of Sculpture Gardens, with Slideshow
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Glenn Lowry's Unorthodox Compensation Package
Commentary on the Art Market

PHILADELPHIA PUBLIC RADIO:
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Pennsylvania Academy of the Fine Arts' sale of Eakins' "The Cello Player"

BBC-TV:
Impressionist/Modern Auction at Sotheby's

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About this Entry

This page contains a single entry by CultureGrrl published on February 26, 2008 6:36 PM.

NY Times Roils Cultural Property Experts With Two Problematic Op-Eds---Part II was the previous entry in this blog.

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